foousic

I don't think anything press wise has been announced yet, but i do ordering for an independent store and just sent my request for copies in today, so it's legit.

Hey everybody, I rarely post too much anymore, but I just wanted to pop in and drop some info I hadn't seen around the boards yet. It looks like we'll see the rest of Uncles Tupelo's records get vinyl releases for Record Store Day this year through Legacy/Columbia ANNND they're gonna be issuing a 7" Box Set of all the bands singles too. I was pretty bummed to hear that the Mermaid re-release would only be on CD, so this really cheers me up.

Yeah, honestly if it's not on vinyl, whats the point? Same records, with demos we've heard, on CD.

Hey all. I was browsing a vinyl forum, and a user gave me the heads up that they still have VINYL copies of Mermaid Ave. at the UK Billy Bragg store. As far as he can tell, his copy does not look like a reissue or anything, has the inserts and all. I often see sealed copies of this record go on eBay for $70 or even $90 bucks. Anyways, I ordered mine and it came out to about $25. Should be here in a couple weeks. Thought I'd give my fellow vinyl-loving VCers a heads up. Just please don't buy all the copies and flip them on eBay!

 

http://www.billybragg.co.uk/store/music.html

 

(I've attached his picture of the record)

Not sure what your seeing there, but when I go to your link theres nothing in the store about Mermaid LP's. Maybe they took them down already or something, but it doesn't look like any are for sale anymore. Theres only the CD for sale.

I'm almost certain they recorded on tape while at Sear Sound since there were specific mentions of this fact made in articles around the time because they had such a hard time finding reel to reels. At that point I guess companies had scaled back their production and were virtually producing no reel to reel tape. The band had to even buy second owned reels if I remember correctly. That could be my mind running a bit far though. I honestly don't remember any mention of Pro-Tools ever being used around this time. Maybe your getting wires crossed with Summerteeth? Either way I'd have to say if it tape, then it's the tape, and definitely Jim O'Rourke. They really need to pull him back into the group. I can only imagine what this lineup plus O'Rourke behind the dials would produce.

So...I see you're trying to use big words to cover the fact that you don't really have a cohesive point to make.

 

I'd advise not doing that. I honestly have no clue what the hell you're saying, or even which album you're trying to indicate a preference for.

Ok, so I didn't expect such a rude response, but if that's how you wanna handle yourself on a fan forum then by all means go right ahead. I guess I might as well try and finish what I was trying to get out earlier. I apologize for not finishing, it couldn't be helped. Either way I guess I should start from a point that I think we all can meet and agree on, which is that I am a Wilco fan (I should think that everyone on here is too). Now with that statement I am admitting that I of course may have some bias in my artistic critiquing and criticism of their work. Now I wrote that previous post not in a effort to bring some sort of high browed intellectual babel opinion into the fold, but rather to honestly express why I feel Wilco (the album) is a great piece of art and that any comparison of it to an album like In Rainbows is arguably incorrect and probably unfair for another band like Radiohead. You see I do have a cohesive point and it is that Wilco (the album) is arguably the most subtle and on point statement from Jeff Tweedy on who he is as an artist, and what Wilco is as an American band today. From this point I personally believe that it is a great album, ahead of it's time, and incomparable to In Rainbows. It's self reflective, parodying, and empowering. It is a statement I think not yet completely understood and certainly not accepted within mainstream music. It is an album about a band, and by a band that has collectively stepped outside of their own inner narrative and commented upon it in such a tasteful and mature way that most listeners I think have missed it completely.

If a band has the luck to make a string of interesting albums I find it fascinating to look at the body of work as a sort of inner narrative to the songwriters and architects of the band. The narrative in almost any example doesn't change very drastically. It probably really started with The Beatles, so I guess that's as best a place to start as their is. The Beatles challenged their sound with Rubber Soul, expanded upon that concept with Revolver, and then blew it up with bold indulgent artistic statements like Sgt. Peppers and The White Album to then bring it all back down to earth with simplistic recording and songwriting on Let It Be. Radiohead and Wilco both could fit into this rough Beatles mold. Both bands introduced themselves onto their respective rock scenes with early music that was very listenable and enjoyable if not still lacking a challenging edge to each of their scenes and sub genres of Rock n' Roll. In short both Tom Yorke and Jeff Tweedy were talented but not true revolutionary artists. Again sharing a commonality they both recorded and released follow up albums that seriously challenged public opinion of what they each were capable of and had in them as young emerging rockers. Being There offered a reflective view of the Big Star American rock landscape while The Bends gave the average 90's Top 40 listener a truly beautiful single and album by which they might challenge what the ever growing major corporations like Clear Channel and Ticketmaster were artificially serving up at the time. From this point both bands in very similar fashion continued down this Beatles-esque path to record albums that reshaped what rock in the mainstream listeners ears was at the time. Fast forwarding to A Ghost is Born and Hail To The Thief both Wilco and Radiohead found themselves at a crossroads; continue down their respective artistic paths and risk their mainstream status, or sober up their sound up and record collections that pulled back their sounds and retained what they as groups had been.

Now I normally don't like the Radiohead/Wilco comparison, not because I disagree of course by more so because I rarely get the feeling that the voice making it at any certain time has really fleshed out the comparison to this point. I don't really get the sometimes comparison of (the album) to In Rainbows. Clearly (at least in my mind) In Rainbows' comparative selcetion from the Wilco catalogue would be Sky Blue Sky, and a comparison of skill between those two albums is of course completely warranted since they both were each still working within their own narrative dialogues(also I'd pick In Rainbows in that instance). What has changed is that Wilco has followed up Sky Blue Sky with (the album) and Radiohead has released a few very nice little singles. Wilco has stepped outside of it's own persona and commented upon it and in turn they have commented upon us as a culture since we for so many years have held them up as "A Great American Band" At one point or another Wilco began to embody more than just itself and became a self reflective entity upon which I personally as an American could see myself and who I wanted to be with this country. I really do reject the idea that I'm the only one who had this sort of experience with this band, especially since I know people personally who have shared them same exact sentiments with me.

Now I'm sorry to say that I again have to run out (class). I hope this entry might have gotten through to some but if not it really doesn't matter anyways. If you read to this point then thanks and I hope you get what I'm talking about.

 

 

 

 

 

Can you try to start it, too?

Thanks I hope I did...

I can see comparing WTA to In Rainbows much more than to AWWTM.

 

However, In Rainbows is by far the superior record. I mean no offense to Wilco, but In Rainbows still blows me away every time.

This and the couple other ensuing comments thereafter bring up something that I've been talking with my friends about lately and it's that when one is a participant in this discussion of 'In Rainbows' vs. '(the album)' there needs to be a distinction made in the mind that there is an intrinsic difference between the two in that one (In Rainbows) is an album of ambition, emotion (and to be frank) more primitive artistic intuitions than a discussion of self awareness which is of course the grounding framework for '(the album)'. It is in this sort of critical dichotomy that I feel like anyone could gain a greater appreciation of '(the album)' than could ever be achieved in a listening of 'In Raibows'.

I actually have to run but I will try to finish this thought later...

If we really get into this then it should be mentioned that there are still to this day quite a few songs that never even made it to the YHF demos. I can't clearly remember how many there were and what their specific titles were but I do remember when the wilcomovie site was up there was quite a few outtake videos of Leroy Bach, Bennett, and Stirratt playing songs individually. They were either never seriously worked on or just not submitted onto the demos and final album products. I remember that for a fact Jay in one clip talked about and played "Like A Photograph" which ended up on his fist solo album with Edward Burch.

Yeah asimplecadence is right, there's no way to buy public tickets for either show on tickets.com.... I've got the pre-sale blues

Edit: Yeah I just checked, and there's no listing on ticketbastard either...

What happened to Another Man's Done Gone? Should be right after Auld Triangle...

Any chance someone could repost a link to that mix, I'd love to hear it?