A Cherry Ghost is Born Review

And the Wilco reviews of "A Ghost is Born" continue with their comparisons to Neil Young and Crazy Horse -- almost to point of absurdity as this Blogcritics review by Jane Ripley notes:

"It's amusing to hear what the other critics are saying about this album. I found Kelefa Sanneh's story in The New York Times informative, yet I didn't agree with her opinion that the 15-minute song "Less than you Think" was an attempt by Wilco to alienate their baby boomer fans. There are numerous classic-rock influences on A Ghost is Born, so I'm sure the oldsters will eat this up. I can hear the T.Rex in "I'm a Wheel", and the Beatles (circa the White Album days) in "Muzzle of Bees". I shouldn't even mention the obvious Neil Young and Crazy Horse-like guitar because every other reviewer already did. "

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"The finest raggedy rock riff Neil Young never wrote"

From New Zealand's STUFF, a Wilco review of "Ghost" by GRANT SMITHIES which considers the album's best songs:

Album opener At Least That's What You Said features the finest raggedy rock riff Neil Young never wrote, and Hell is Chrome, a quietly creepy ballad in which the singer survives an encounter with the devil, is strung with lovely lines ('The air was crisp like sunny late winter days, a springtime yawning high in the haze, and I felt like I belonged') and barbed guitar. "

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Wilco's 'Ghost': Living in an Ethereal World

Neil Young and Crazy Horse's influence on Wilco's "A Ghost Is Born" seems to be on every critics mind these days. A review in Washingtonpost.com by David Segal observes that Wilco has one of the highest inverse ratio's of critical acclaim to sales. I.e., great reviews and low sales. Sort of like Young's music?!

"The album, Wilco's fifth, is an experiment that only the initiated will enjoy. In fact, if the cult of Wilco has mystified you so far, 'Ghost' is sure to deepen the mystery. What can you say about a song like 'Less Than You Think,' which ends with 12 wordless minutes of what sounds like intergalactic radio hum. 'Well, nobody has tried that before' is one thing you could say. 'I'm never sitting through that again' is another.

You might admire the nerve it took Tweedy to play the numbingly long electric guitar solo on the album opener, 'At Least That's What You Said,' reaching for the wearying effect that Neil Young achieved in live jams with his band Crazy Horse. Or you might wonder what kind of lunatic would plop such an inhospitable welcome mat at the front of an album, one that all but dares listeners to go knock on someone else's door.

'Ghost' is a rethinking of rock's mannerisms that mostly reminds you why these mannerisms became so popular in the first place. With production by Jim O'Rourke, who hails from the niche world of electro-acoustic rock, the album has the feel of a disoriented confession; it seems to take place in a landscape of the mind where almost nothing is familiar. There is a drug deal happening on 'Handshake Drugs,' the Devil swings by for a how-do-you-do on 'Hell Is Chrome,' but otherwise, the lyrics leave you anxiously stranded, without reference points, in a psychedelic heap. "

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"Rockin' In the Free World" To Be Re-Released

Big news that Neil Young's "Rocking In the Free World" will be re-issued as a single and a new music video this summer. And -- standby -- the video will be directed by Michael Moore.

More on the original music video of Young's "Rockin' in the Free World" and analysis of the meaning behind the song.

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Wilco's 'Ghost' so good it's frightening

Wilco rave reviews continue with Neil Young comparisons. From Dallas/Fort Worth Star-Telegram .

"The first track, "At Least That's What You Said", with its eerie opening guitar chords and lamenting piano, sets up the listener for a rip-roaring guitar/piano meltdown that never stops for a breath. It seethes intensity like a lost outtake from Neil Young with Crazy Horse during an all-night jam session. Tweedy's guitar playing erupts into a glorious rage, as if the singer has resigned himself to the fact that this lovers' quarrel will never be fully resolved. He's left alone to take it out on his guitar."

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Wilco 'Hell Is Chrome' Download

A terrific new Wilco MP3 download of 'Hell Is Chrome' from the Vic Theater show in Chicago earlier this month is available on WILCO WORLD.

Thanks to Frank over on .: chromewaves.net for the heads up.

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Wilco understands Young's eccentrically expressive ways with vacuum-tube reality

Wilco review continue to roll in. Another Wilco review this time from The Village Voice by James Hunter.

"The new Wilco focus dulls the place of Brian Wilson's music in Wilco's.

This is excellent, because the rinky-dink Americana/alt-country apprehension of Wilson -- the delusional idea that classic Beach Boys had less to do with a genius instance of Hollywood glamour than some sort of fanciful homey suburban folk -- has always been plainly wrong, and Wilco have been chief offenders in perpetrating the hoax. Loads better for them to proceed, as they do on A Ghost Is Born, as though they can't get enough Neil Young. Wilco understand his eccentrically expressive ways with vacuum-tube reality. They don't willfully imagine Young as Bing Crosby, as much of Americana/alt-country has viewed Wilson as Hank Williams with arpeggios. Moreover, on the several creeping ballads such as 'At Least That's What You Said' and 'Theologians' that Tweedy almost mumbles, Wilco also exhibit a decent grip on Sister Lovers - period Alex Chilton. Their version can't communicate the Big Star protagonist's pharmaceutical nightmares, yet it still sears. "

And this review in New York Daily News by Jim Farber (along with Sonic Youth review and an interesting comparison with Wilco):

" 'A Ghost Is Born,' produced by O'Rourke, doesn't sound much like its predecessor. But it takes up 'Foxtrot's' sense of abstraction and sends it in a new direction. Now the noise is utterly in-your-face. The result sounds like Crazy Horse, with ragged, jagged guitar solos ruling the day.

Wilco leader and axman Jeff Tweedy isn't exactly Neil Young. But his budding attempts at strangulated guitar lines have a certain freedom to them, and they reflect the album's troubled lyrical themes."

More on Jeff Tweedy and Neil Young.

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Neil Young was right: Vinyl can never die

An article in The Globe and Mail by Dick Snyder has the sub-headline "Neil Young was right: Vinyl can never die."

Yep, an article about old-fashioned vinyl records refusing to become extinct. Even CDs are threatened by the latest wave of technology -- mini-players like Apple's new credit-card-sized iPod.

"The compact disc, however, still drives the music business. Most record labels won't bother with the hassle of putting out a vinyl record; it's the artists themselves who make it happen. Neil Young has his own label, Vapor Records, and he plans to release his entire back catalog on vinyl.

Young has been a vocal opponent of the CD since the beginning. Today, he blames the music industry's sales woes on the decision to switch to the more convenient, cost-effective but nevertheless inferior medium. Two years ago, in an interview with USA Today, he said: 'A CD is . . . like a toy or a robot, just a string of ones and zeros, whereas analog recording is a true reflection, like a pool or a mirror. Imagine telling Picasso, 'That's a nice painting; now we're going to fax it to the public.' '"

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Wilco's 'A Ghost Is Born' Reflects a Band's Struggle on NPR

An excellent review on NPR of Wilco's 'A Ghost Is Born'. From the NPR site:

"The rock band Wilco's latest CD, A Ghost is Born, was recorded during the lead singer's battle with an addiction to painkillers, among other distractions. Many of the Chicago group's songs reflect this tense and hallucinatory period in the singer's life. Critic Tom Moon has a review."

A few clips are played and insights on the album are offered. Moon says that:

"Tweedy's use of the guitar isn't too make things pretty. Instead he uses savage, wild lunges to puncuate the verses. And to inject danger into otherwise lovely songs."

Brace yourself -- tomorrow's the day of the release of "Ghost".

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'Fahrenheit 9/11' Film Using Young's "Rockin' In The Free World"

Filmmaker Michael Moore and Neil Young have apparently reached agreement to use Young's song 'Rockin' in the Free World' for the controversial film 'Fahrenheit 9/11''s closing credits, according to Daily Variety. More on Fahrenheit 9/11's soundtrack.

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The Dead Cover "Cortez The Killer"

The Dead performed Neil Young's "Cortez The Killer" at the 2nd night at Red Rocks Amphitheater, Colorado (June 16, 2004). According to Randy on Bad News Beat, this is the first ever Neil cover for the Dead (though Phil and Friends have performed "Rockin' In the Free World").

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Wilco: The American Radiohead

Wilco is referred to as "The American Radiohead" in the newly published "Wilco: Learning How To Die" book by Chicago Tribune critic Greg Kot. "There is some truth to the cliché because, like Radiohead, Wilco is a band that keeps changing up the formula every time, " says Kot in an interview in the Toronto Star by Vit Wagner. Tweedy also cites Neil Young as an influence.

Wagner writes:

"The Rolling Stones might be the greatest, U2 might be the biggest, but there is a case to be made for Wilco as the best rock band in the world today.

That claim, subjective as it must be, is not without foundation. It is not only based on this critic's abiding fascination with the music that guiding light Jeff Tweedy and his Chicago-based band has made since emerging from the ashes of alt/country pioneers Uncle Tupelo a decade ago.

For one thing, while Wilco has never been hugely successful commercially, Tweedy's cultural reach has been broad. No Depression, the first album that Tweedy and then musical compatriot Jay Farrar made as Uncle Tupelo, was instrumental in kick-starting a new era of roots/rock experimentation. No Depression, which took its title from a cover of a dustbowl-era Carter Family tune, became the banner for an entire genre, eventually spawning an influential magazine by the same name."

My favourite bands have all done that," said Tweedy during a recent phone interview. "The Beatles evolved rapidly. Neil Young is always changing. And David Bowie — although with him it's always felt more like somebody putting on costumes. I think he would probably admit that that's part of his personas.

"Dylan has somehow managed to make dozens of different kinds of records despite some serious limitations. He's unlimited lyrically, but vocal-wise and all that.... That's the stuff I love: people exploring with what they have to work with.

"What you make is, in a lot of ways, a reflection of who you are, what you've listened to and what you've experienced. And what I've experienced in life is a lot of thrilling moments that involved being surprised by music, falling in love with something because it wasn't what I expected. That's how art changes people's perceptions."

Thanks for the link from Frank over on .:chromewaves.

More on the new Wilco book.

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Wilco on David Letterman

Wilco performed "Hummingbird" on David Letterman last night. "Hummingbird", from the new album "A Ghost is Born", showcased the new band lineup quite nicely allowing for mini keyboard, guitar, and drum solos.

Jeff Tweedy, who only sings vocals on the song, seemed to be enjoying himself. Tweedy, grinning at John Stirratt on bass one moment and then hopping around the next, looks all ready for the upcoming tour of Europe this summer.

Over on chromewaves.net, Frank has some links to the RollingStone.com interview with Jeff Tweedy before and after his rehab session and Nude as the Newsreview of Ghost.

More on Wilco concerts and music influences.

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Tweedy on Recovery in Time Mag

TIME magazine has an article on Wilco and Jeff Tweedy titled "Can Recovery Sound Good? - With its latest album, Wilco test-drives another new sound, a new lineup and a better mood" by ROMESH RATNESAR (Jun. 21, 2004). Here's the blurb:

"Like all productively tortured artists, Jeff Tweedy knows how to make a virtue of his misery."

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My Morning Jacket Looks Ahead

From KINGBLIND:

"My Morning Jacket singer/songwriter Jim James says the band's recent live EP, 'Acoustic Citsuoca,' is more than just a treat for fans. 'I definitely see it as the end of a chapter, just because it is the last recording that [original guitarist] Johnny Quaid and [original keyboardist] Danny Cash are on,' he said. 'I don't know about the beginning of a new chapter. I think it will have to be a different book. I see us going in different directions but still doing a lot of stuff we did before.' Currently finishing up a seven-week club tour in support of 2003's 'It Still Moves' (ATO) with new members Carl Broemel (guitar) and Bo Koster (keyboardist), the Kentucky-based band has about a dozen shows scheduled Stateside and in Europe over the next month, with more dates expected to be added soon. Once touring ends in late summer, James says he will retire to his home to begin writing the band's fourth studio release. 'I think we've done enough touring,' he admits. 'We need to disappear for a while.' Among the songs already in the hopper is the tentatively titled 'Oxen,' which is currently part of the band's live repertoire. As for a release date, a tired James is making no promises. 'I don't know -- one thing I've learned in the last year or two is that everything moves so fast,' says James. 'I just want to sit down and make this next record and when I'm done with it, I want to think it is the greatest record we ever made. If it takes two weeks, it takes two weeks. If it takes two years, then it takes two years. But I just don't want to rush it.' "

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Wilco at 9:30 Club, Washington, DC - Roll Another Number

Photo by Jesse Hamm

When Wilco hit the stage at Washington, DC's 9:30 Club, Jeff Tweedy strolled out onstage in a suit and tie. "I just came from delivering a eulogy", Tweedy commented in reference to President Ronald Reagan's funeral procession that had just rolled by a few blocks away. So it went -- just another historic day in Washington.

Looking all cleaned up and refreshed, Wilco's new lineup with John Stirratt on bass, Glenn Kotche on drums, Mikael Jorgensen on keys and laptop, Pat Sansone on keyboards and guitar, and Nels Cline and guitar were a formidable stage presence giving every indication that the upcoming "A Ghost is Born" will live up to the expectations.

The show was incredibly paced with Tweedy alternating between acoustic and electric guitars between nearly every song. Doing what Wilco does best -- going from a whisper to raging feedback within a single song -- the band performed a mix of new material, as well as, gems from "Yankee Foxtrot Hotel", "Summerteeth", and "AM".

By the time Wilco reached their 3rd encore -- after the house lights had come up and the crowd began to exit -- fans had already been treated to one of the finer Wilco performances. On Via Chicago, A Cherry Ghost wrote "Easily, the best show I have ever seen in my entire life."

Also on Via Chicago, gabepride posted:

"Holy hell, what an amazing show. The best Wilco show I've seen (out of 4), and the best crowd I've seen at the 9:30. I could've done without the crowding, but I was dancing like a fool anyway. Almost everybody was singing along to every song, and the band was greeted with really loud cheering. Everyone in Wilco was very animated, especially Jeff Tweedy (breaking the trend of the last tour). During I'm A Wheel, Pat adopted a Pete Townshend early-Who stage persona, complete with windmills and kicks (but no jump kicks, unfortunately)."

Highlights included "Heavy Metal Drummer" which got everybody pogo-ing, "Jesus, Etc." which was just simply sublime, and "Via Chicago" a somewhat rarely performed tune. At one point, as the crowd enthusiastically applauded for more, Tweedy wryly noted that "It's good to see everyone out on such a somber occasion."

So when Jeff brought out his guitar tech Frankie to sing Happy Birthday, folks were in a singing mood and happily obliged. And when Wilco launched into "Passenger Side", the crowd roared in delight. One fan made a hand rolling gesture during the lyrics "Roll another number for the road", which Tweedy acknowledged with the slightest wink. Just had to add a little Neil Young connection to make the evening complete.



The concert was webcast on Wilco World and will be repeated at a later date. Here's the setlist:

9:30 Club - Washington, DC (June 9, 2004)
Late Greats
Company In My back
Hummingbird
At Least That's What You Said
War On War
I Am Trying To Break Your Heart
Jesus, Etc.
I'm Always In Love
Hell Is Chrome
Muzzle of Bees
Shot In The Arm
Radio Cure
I'm The Man Who Loves You
One By One
Poor places
Handshake Drugs

Encore 1:
Theologians
California Stars
Heavy Metal Drummer
I'm A Wheel

Encore 2:
Via Chicago
Spiders (Kidsmoke)
The Lonely 1

Encore 3:
Happy Birthday - (For Frankie, the guitar tech)
Passenger Side

Some more photos by Maudie of Wilco @ The 9:30 Club, Washington, D.C..

A review of Sunday's Pittsburgh Three Rivers Arts Festival by Ed Masley summed up where Wilco stands today:

"If 'Yankee Hotel Foxtrot' was Wilco's 'Sgt. Pepper,' then 'A Ghost is Born' is their 'White Album,' sprawling all over the map and taking Wilco with it, from the electronic throb of 'Spiders' to the barnyard stomp of 'Late Greats'; from the Beatlesque piano pop of 'Hummingbird' to the album's most inspired cut, 'At Least That's What You Said,' a stunning show of force that evolved from nearly whispered verses steeped in sadness through a bludgeoning Crazy Horse power-chord stomp to a wide-open jam as transcendent in concert as it is on record."

(thanks e2f!)

More on Wilco and Neil Young's influence on their sound.

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New York Times Review of New Wilco Book

Greg Kot's new book "Learning How To Die" is reviewed in The New York Times by Joe Klein.

"Rarely has so much attention been paid to a musician who has never quite succeeded commercially, or in his own mind, or in the minds of his oft-perplexed fans. But Tweedy is worth it, for his failures as much as his successes, for the cloudy clarity of his work."

"Through it all, Tweedy has produced some terrific (and not so terrific) music. Each Wilco album is different from the last. Tweedy is a classic autodidact, inhaling books, constantly pushing himself to grow and change. Over time, he has become a better guitar player and learned how to mess with the computerized gimmickry of the modern recording studio. Most important, he has figured out how to sing in an entirely distinctive and compelling way. Like Bob Dylan, Neil Young and others, Tweedy has a scratchy, nasal, good-bad voice, which depends on his emotional intelligence and phrasing, rather than timbre, for its effectiveness. His delivery is purposefully nervous, artfully irresolute. He will bend or slur a phrase, pause uncomfortably, allow a note to shatter in mid-attack; at times, it sounds as if he's very close to a nervous breakdown. There is a terrible sadness to it. (As affecting as Tweedy's postmodern angst can be, I sometimes miss the occasional lacerating jolt of angry energy Jay Farrar brought to their collaborations.) "

More on Greg Kot's Wilco book "Learning How To Die".

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Bamboozle fest covers "Helpless"

The Great Bamboozle festival in Asbury Park, New Jersey featured a mix of acts including Patti Smith, Sonic Youth, My Morning Jacket and Jesse Malin. From Star-Ledger by JAY LUSTIG:

"Jesse Malin, former frontman of the punk band D Generation, has evolved into a thoughtful singer-songwriter. He presented a set of well-crafted tunes from his two solo albums, last year's 'The Fine Art of Self-Destruction,' and 'Heat,' which is due out June 29. He also covered Neil Young's 'Helpless' (introduced with a comment about Young's punk credentials) and Elvis Costello's 'Oliver's Army.' "

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Marjorie Fair with 21st century's "After The Goldrush"

Marjorie Fair's latest "Self-help Serenade" has Neil Young's influence all over it according to the Belfast Telegraph.

"Like My Morning Jacket, Marjorie Fair owe a fair debt to Neil Young. Snippets from the master craftsman's mellower side are plainly evident throughout the work of these two highly talented acts. And both have learned a lot from their mentor. In Marjorie Fair's case, the result is that these new masters of melancholy have produced a dream debut."

"From the gorgeous opener, Don't Believe - a beautifully delicate and sombre song - the tempo rarely moves up a gear, bar the odd bit of churning, droning guitar. And by the time you've reached "My Sun Is Setting Over Her Magic", arguably the 21st century's "After The Goldrush" with its fragile melodies and evocative lyrics, the chill-out meter's hitting maximum."

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Pixies Cover Young's 'Winterlong'

The Pixies are covering Neil Young's 'Winterlong' on their newest greatest hits release according to Chart Attack. Lots of hits are included plus seven tracks from the band's most popular album Doolittle. Also, the B-sides 'Into The White' and a cover of Young's 'Winterlong'. The Pixies are a great band who's homage to Young was included on the 1989 Tribute for The Bridge School album.

The Pixies just wrapped a four night stand at Brixton Academy in London to rave reviews. Here's a link for The Pixies "Hey" MP3 from KINGBLIND.

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