Posts Tagged ‘Jeff Tweedy’

Wilco frontman Jeff Tweedy has announced he will release a memoir, titled Let’s Go (So We Can Get Back), on November 13th via Penguin/Random House.

The book’s subtitle bills it as “A Memoir of Recording and Discording with Wilco, Etc.” and its 304 pages promise to delve deep into Tweedy’s past—from his childhood in Bellville, IL, to the Chicago music scene that birthed his most famous outfit—and the music that the iconic singer-songwriter has penned over the years, whether with Wilco, Uncle Tupelo or as a solo artist, plus thoughts on his family, including Tweedy’s sons Spencer and Sam.

Let’s Go (So We Can Get Back) is now available here (UK).

Tweedy also has a number of solo tour dates coming up this fall. He plays next at the Rocky Mountain Folks Festival in Lyons, CO, this weekend.

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Wilco’s debut album, A.M., was released 20 years ago .

A.M. is the debut album of Chicago based alt-country rock band Wilco, released on March 28th, 1995. The album was released only months after the breakup of Uncle Tupelo, another alt-country band that was the predecessor of Wilco. Prior to the release of the album, there was debate about whether the album would be better than the debut album of Son Volt, the new band of former Uncle Tupelo lead singer Jay Farrar. Only days after the breakup, Tweedy had decided to form a new group. He was able to retain the lineup of Uncle Tupelo sans Farrar, and rechristened the new band as Wilco.

In mid-May, the band began to rehearse songs in the office of band manager Tony Margherita, and hired producer Brian Paulson, who produced Anodyne. Wilco first recorded demo tracks for the album at Easley studio in Memphis, Tennessee in June. Stirratt recommended the studio based on previous experience as a member of The Hilltops, and Jeff Tweedy had heard of the studio through a Jon Spencer Blues Explosion recording. Reprise Records, a subsidiary of Warner Brothers, signed Jeff Tweedy after hearing the tapes, and recording for the album continued through August.

Although A.M. was released before Son Volt’s Trace, critical reviews were modest and initial sales were low. The album was later regarded as a “failure” by band members, as Trace became a greater commercial success. It was the band’s last album to be recorded in a purely alternative country style, as following the record the band began to expand their sound across multiple genres. It is also the only Wilco album to feature Brian Henneman of The Bottle Rockets as a lead guitarist. Recorded June–Autumn in 1994 . Brian Henneman had to leave the band shortly after recording the album, and was replaced by former Titanic Love Affair guitarist Jay Bennett. Jeff Tweedy also attempted to create a more collaborative environment than Uncle Tupelo, requesting songwriting contributions from other members. John Stirratt submitted three songs, hoping to become a secondary songwriter for Wilco. However, although the songs were recorded as demos, only one (“It’s Just That Simple”) was selected to appear on the album, and was the only Stirratt song to appear on any Wilco album.

The album’s title is intended to reference Top 40 radio stations, and the tracks reflect a straightforward country-rock sound. The band members felt that they needed to establish themselves outside of the Tupelo fanbase. However, Tweedy later stated that in actuality, they were “trying to tread some water with a perceived audience.” Tweedy wrote a song about the Uncle Tupelo breakup, but decided that he didn’t want any material on that subject matter to appear on the album (It can be argued, however, that first single “Box Full of Letters”, as well as “Too Far Apart” allude to the dissolution of Farrar and Tweedy’s friendship and working relationship.) Tweedy attributes some of the straightforwardness of the album to his use of marijuana at the time. Shortly after the album, Tweedy stopped smoking pot, to which he credits the introspectiveness of further albums.

Wilco began touring before the album was released. Their live debut was on November 27th , 1994 at Cicero’s Basement Bar in St. Louis, a venue where Uncle Tupelo had first received significant media attention. The band was billed for that concert as Black Shampoo, a reference to a 1970s B-movie, and the show sold out.  Wilco continued to tour for two hundred shows, culminating in show at the South by Southwest Music Conference in Austin, Texas in March 1995. A.M. was released on Reprise Records on March 28th, 1995.

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There’s a whole lot to love about Wilco’sThe Whole Love”. It’s a career-spanning set of songs that appeared in the fall of 2011. Start with “Art of Almost” (you should be starting with this song, unless you have the album on shuffle.) The opening cut is the group’s most ambitious, confrontational piece since the Jim O’Rourke days. Plus, there’s the infectious “I Might,” the lovely, shuffling title track—all great. If The Whole Love has a weakness, it’s that the album spends so much time exploring the stylistic terrain of Wilco’s career to date that it never quite establishes an identity of its own. Plus, at 55 minutes and some change, Whole Love sags in its latter half. But man, “Art of Almost.” What a song

Has Wilco ever sequenced as perfect a coupling as “Art of Almost,” the band’s theme song, and the driving organ-pop number “I Might”? Those are 11 minutes to get lost in the music. The album ends with the 12-minute anti-epic “One Sunday Morning,” containing some of Jeff Tweedy’s best lyrics. You have to find your own meaning, but “One Sunday” seems inspired by a troubled father-son relationship, with Tweedy’s somber delivery over lovely piano accompaniment eventually leading to an understated jam that follows the tone of the proceedings. The album’s a little soft in the middle, but it includes a song that predicted Diamond Rugs (“Standing O”) and one (“Black Moon”) that cuts through Townes Van Zandt’s backyard on the way to the symphony.

Record Store Day 2018 will sweep America’s record shops, bringing with it performances, parties, and plenty of drool-worthy new and exclusives releases.  Uncle Tupelo (the band that predated and eventually morphed into Wilco) will release No Depression – Demos on Record Store Day. Previously released as disc two of the 2014 deluxe reissue of the landmark 1990 album, this marks the first time these tracks will be available on vinyl. Legacy will press 3000 copies.

One release we’re particularly excited about is Uncle Tupelo’s No Depression (Demos). the site and publication No Depression originally got its name from that 1990 album from Uncle Tupelo, a history former ND editor Kim Ruehl outlined in a recent piece for the Columbia Journalism Review.

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Referencing ND founding editor Peter Blackstock, Ruehl writes, “Blackstock occasionally participated in an online message board called NoDepression.AltCountry, named for the 1993 debut album of Midwest alt-country group Uncle Tupelo (who had, in turn, named their inaugural recording, No Depression, for a song The Carter Family had recorded a half-century earlier, during the Great Depression).”

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Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the group Uncle Tupelo after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band’s major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco. Although Uncle Tupelo broke up before it achieved commercial success, the band is renowned for its impact on the alternative country music scene. The group’s first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo’s sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy lyrics frequently referred to Middle America and the working class of Belleville.

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This Record Store Day release features a handful of exclusives, including a 1988 demo of the title track, which has never before been released on vinyl. Check out more details and a track list for No Depression (Demos) here.

Released in 1990, Uncle Tupelo’s debut album No Depression was a genuine milestone in American rock and roll, a striking fusion of traditional folk and country with post-punk innovation and hardcore ferocity. For the first time on vinyl, fans can hear Jeff Tweedy, Jay Farrar and Mike Heidorn’s legendary demo tape Not Forever, Just For Now, recorded in 1989, plus a demo of “No Depression” recorded a year earlier.

Side A 1. Outdone [1989 Demo] 2. That Year [1989 Demo] 3. Whiskey Bottle [1989 Demo] 4. Flatness [1989 Demo] 5. I Got Drunk [1989 Demo]
Side B 1. Before I Break [1989 Demo] 2. Life Worth Living [1989 Demo] 3. Train [1989 Demo] 4. Graveyard Shift [1989 Demo] 5. Screen Door [1989 Demo] 6. No Depression [1988 Demo]

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On July 16th, Wilco shocked their fans in the best way possible: by releasing Star Wars, the band’s first album in four years, for free on their website, with no advance warning. The album is Wilco’s best in at least a decade, full of loose, poppy rockers like “Random Name Generator” and “The Joke Explained.”  After recording the basic tracks himself in the Wilco loft in Chicago, frontman Jeff Tweedy brought in the other members of the band separately to play on them. The process has proved so productive that Tweedy says he’s already halfway finished with the next Wilco album. “I have a whole lot of material,” he says.

It’s kind of an extension of the thought process behind, I don’t know, staying in touch with some sort of wild energy as much as possible and some sort of an irreverence. But that painting of that cat hangs in the kitchen at the [Wilco] loft, and every day I’d look at it and go, “You know, that should just be the album cover.” Then I started thinking about the phrase “Star Wars” recontextualized against that painting — it was beautiful and jarring. The album has nothing to do with Star Wars. It just makes me feel good. It makes me feel limitless and like there’s still possibilities and still surprise in the world, you know?

“What’s more fun than a surprise?” Jeff Tweedy asked cheekily on instagram as he introduced us to Wilco‘s ninth studio album. In a year when fans of another Star Wars were being incessantly teased, this album dropped out of nowhere, no endless teaser trailers required. Instead it was free to download,

The album’s got a great sound—jagged guitar (courtesy Nels Cline), distorted vocals—but a critical shortage of great songs. “You Satellite” rules and “Random Name Generator” is formidable enough to make Jeff Tweedy feel like a shapeshifter rock star, but much of the album feels unfinished, like sketches for something that might’ve been great, a perception that’s fairly amplified by the album’s brief length and lazy title. The best thing you can say about Star Wars is that it injected some spontaneity, some aggression back into Wilco’s music. The album thrilled fans when it was surprise-released for free in 2015, following the longest gap between Wilco albums to date. But it’s already been eclipsed by the superior Schmilco. Wilco’s weakest effort isn’t bad at all, justwell, underwhelming

Kitsch kitty cover art and silly title aside, the fuzzed up, lean rock on Wilco’s most concise album in years took plenty of unexpected turns. Tweedy worked largely alone, the band adding the gloss and grit to finished arrangements and basic tracks. The result is at times wild and weird but always Wilco.

Weird Tales is a bit of a misnomer for a collection of songs about the triumphs and tragedies of everyday life. The title, however, does lend itself to some great packaging and artwork. On this second full-length outing from Golden Smog, the band (featuring members of the Jayhawks, Wilco, Soul Asylum and Run Westy Run) is joined by former Big Star drummer Jody StephensWeird Tales is American band Golden Smog’s second album, released in 1998. The title comes from the pulp magazine Weird Tales, the cover art being from the October 1933 issue, by Margaret Brundage.

With members from three of the best little big bands of the last 30 years of rock music. Members of these bands, plus other,equally worthy musicians, came together to form Golden Smog, a loose, brilliant alt-country supergroup comprising of like minded individuals. Weird Tales, was their third album, it is their masterpiece, and a finer album of Americana I’ve yet to hear this side of Stranger’s Almanac.
The music ebbs and flows with a gentle purpose- angst ridden and meloncholic in places,peaceful and accepting in others. Particular highlights include Gary Louris’ Until You Came Along, Tweedy’s Please Tell My Brother and the wonderful Jennifer Save Me.

Featuring songwriters (Gary Louris of the Jayhawks and Wilco’s Jeff Tweedy) both contribute Weird Tales’ most solid tracks. A pet project aimed more toward fans of the genre than the casual listener, Golden Smog nonetheless deliver the goods with a good deal of twangy heart and soul.” It’s  a first-rate collaboration among differing band members that’s unified in both vision and spirit.

the band ;

  • Kraig Johnson
  • Dan Murphy
  • Gary Louris
  • Marc Perlman
  • Chris Mars
  • Noah Levy
  • Jeff Tweedy
  • Jody Stephens

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If All I Was Was Black, released this week, marks Mavis Staples’s third album-length collaboration with Jeff Tweedy, and its new single—the first to prominently feature Tweedy—is a wonderful showcase of their chemistry. In the face of a tumultuous country beset by racial strife and political division, Staples and Tweedy are fighting back the only way they know how: not with anger or anxiety, but with love and togetherness. “Ain’t No Doubt About It” is a heartwarming duet, with the pair trading verses about the power of friendship to push away worries.

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Despite a memorable handful of upbeat, borderline joyous songs—including a title track that literally features chirping birds—Summerteeth is pretty damn dark. Songs like “We’re Just Friends,” “How to Fight Loneliness” and the murder-dream classic “Via Chicago” are heartbreaking, and even tracks with a cheery sheen are low-key depressing when you get into the lyrics. Still, a thread of hope runs through even the most downtrodden passages, lending Summerteeth an emotional depth that pairs nicely with a newfound sonic complexity.

It’s the first album where Wilco really explores what’s possible in the studio. Organs and guitars are held on equal measure. There are birdsounds, there are horns, there are pops and bells and clanks and other textural flourishes. It’s a dazzling departure for a band whose sound had been predicated on alt-country twang. Plus, the songwriting is uniformly excellent, as evidenced by the fact that “Via Chicago” and “A Shot in the Arm” are still live favorites today. On Summerteeth, Wilco was becoming something else.

Can’t Stand It (From Summerteeth, 1999)
I couldn’t have been the only one who first heard the opening song on Summerteeth and immediately thought, “What the hell???” It didn’t take long (less than 4 minutes, I’m sure) for me to get over it. It was probably about the time I first heard, “No love’s as random as God’s love…I can’t stand it….I can’t stand it.”
Great stuff.

You’ll have the chance to buy some of Wilco’s gear. Jeff Tweedy and company will be opening up a shop on Reverb.com called “The Wilco Loft Shop,” named after their Chicago studio/”safe haven for making music” where much of the gear currently resides, and selling off various items from their collections.

The instruments range from insanely valuable, including a 1958 Gretsch 6021 and two 1940’s Gibson flattop acoustics, all owned by Tweedy, to more collector-focused, like an assortment of guest passes from past Wilco tours. Tweedy discusses the decision to open up the online shop, stating, “Every once in a while we look around the loft and say ‘Geez, there’s just too much stuff up here,’” adding, “We hate to see it go, but we’re sure you’ll put it to good use!”.

Wilco Will Be Selling Off Some of Their Gear On Reverb.com Starting Next Week

All of the items for sale have been played by members of Wilco either on tour, in the studio or both, and will be shipped with a signed certificate of authenticity. You can head here to preview the shop before it opens next week to see a preview of some of the items that will be for sale, and below you’ll find a few pictures of  Wilco’s actual loft, along with video of a 1996 Wilco

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Few bands have managed to stake out a career as creatively compelling, long-running, and vital as Wilco. Where in their catalog do you start? . For 23 years, Chicago’s Wilco have explored the intricacies and contradictions of American rock’n’roll . Wilco has released ten studio albums, a live double album, and four collaborations: three with Billy Bragg and one with The Minus 5. with a once-in-a-generation songwriter, and a killer live show. It’s not too late to hear what you’ve been missing out on.

While you might have trouble naming some songs, you’ve probably heard of Wilco. It might be because your significant other put them on a mix CD in college, your guitarist friend can’t stop raving about Nels Cline or maybe you saw some smug jamoke on Twitter refer to them as “dad-rock” and you wrote them off. If you dismissed them for any one of those reasons or just haven’t gotten to it yet, you’ve been missing out, because few bands have managed to stake out a career as creatively compelling, long-running, and vital as the band Wilco.

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Now in their 23rd year, the Chicago mainstays have amassed ten albums that constantly tweaked and sometimes reinvented their distinctly Midwestern brand of rock’n’roll. Sometimes they took from roots and Americana (1994’s A.M. and 1996’s Being There), other times they drew inspiration from Jim O’Rourke and Chicago’s vast late ’90s-early aughts experimental scene (2002’s Yankee Hotel Foxtrot and 2004’s A Ghost Is Born) while elsewhere, they found a solid palate in golden ’70s rock (2007’s Sky Blue Sky). Despite all the dabbling in other sounds, whims, and moods, Wilco have always been consistently themselves thanks to bandleader and frontman Jeff Tweedy’s affecting, humane, and sometimes cryptic songwriting.

Because there’s decades of material packed into ten proper studio albums, not to mention a wealth of live material (2005’s Kicking Television is one of the better live albums since the start of the millennium), a handful of full-length collaborations with UK folk troubadour Billy Bragg, and a treasure’s trove of B-sides, outtakes, and unreleased material in 2014’s box set Alpha Mike Foxtrot: Rare Tracks 1994-2014, it’s a probably intimidating to ask to dive right into Wilco’s catalog without any help. So in honor of Jeff Tweedy’s first solo album Together At Last, a cheekily-titled collection of re-recorded acoustic Wilco cuts as well as selections from his other projects Golden Smog and Loose Fur that’s out now via Anti- Records. 

One thing’s for certain and it’s that most fans will probably have a different answer on which Wilco album to start with: some will argue to just go from the beginning with A.M. and Being There, others will recommend Sam Jones’ revealing 2002 film I Am Trying To Break Your Heart which documents the laborious and obstacle-filled making of breakthrough 2002 album Yankee Hotel Foxtrot, while certain people will just tell you to listen to the guitar solos on “Impossible Germany.” Wilco’s a very accessible band so all these answers would get you on the right track (on albums alone, I’d say start with Summerteeth or Yankee Hotel Foxtrot).

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But, breaking their discography into distinct sides of the band shows how multi-faceted Wilco have been over almost a quarter of a century. Because they’re a group that still plays their entire discography live (no, seriously, they play near every song at their yearly Chicago “Winterlude” residencies), this obviously isn’t a complete list—your favorite song might not be on here. Also, even if you’re not going to figure out what Tweedy meant when he sang “take off your Band-Aid ’cause I don’t believe in touchdowns” on “I Am Trying To Break Your Heart,” you’ll hopefully consider yourself an “American aquarium drinker” by the end of it.

The earliest Wilco albums— A.M.,Being There and Summerteeth—contain songs that still rank among their most energetic and undeniably infectious.

Wilco formed in 1994 out of the breakup of Uncle Tupelo, the still-influential but long-defunct Belleville, Illinois alt-country band Tweedy started with songwriter Jay Farrar (who went on to front Son Volt) and drummer Mike Heidorn. Other Tupelo members like bassist John Stirratt, latter-day drummer Ken Coomer, and guitarist Max Johnston joined Wilco while Heidorn reunited with Farrar for Son Volt’s first album Trace. Wilco’s A.M. rollicked with a countryfied stomp, songs like “I Must Be High,” “Casino Queen,” and “Box Full of Letters” standing out. But it wasn’t until Wilco’s sophomore double album Being There that the twangy rockers they were churning out really began to pop: “Monday,” “I Got You (At The End of the Century,” and “Outtasite (Outta Mind)” are still fierce and fantastic.

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While Wilco would trade much of gritty, rough-hewn twang for synths and Beatles-indebted pop exuberance on their third album Summerteeth, the energy from their earlier oeuvre never left. Where the bubblegum melodies of “I’m Always In Love” and “Candyfloss” anchored Summerteeth, Tweedy’s ear for a good hook kept going: few things are catchier than “Kamera” off Yankee Hotel Foxtrot or the underrated “The Late Greats” off A Ghost Is Born. We could keep going on and on to Star Wars and Schmilco too.

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Wilco can do the overdriven as well as any American rock band, often times the highest points of the band’s catalog are found in the quieter moments. “Misunderstood,” the first song off Being There, is probably one of the best encapsulations of the inclusive and relatable nature of Wilco’s songs. Tweedy’s opening lines, “When you’re back in your old neighborhood/The cigarettes taste so good/But you’re so misunderstood” couldn’t be a better outcast calling card. Elsewhere, on another Being There highlight like the cathartic “Sunken Treasure” he earnestly sings, “Music is my savior, and I was maimed by rock and roll” and it undeniably works.

Throughout Wilco’s albums, the softer songs have always been the emotional centerpieces from “Via Chicago” or “How To Fight Loneliness” on Summerteeth and “Ashes of American Flags” on Yankee Hotel Foxtrotto just name a couple. Live, no Wilco set would feel complete to certain fans without the the Billy Bragg collaboration “California Stars” to close the set or the inclusion of one of the two most subtle stunners on A Ghost Is Born: “Company In My Back” or “Muzzle of Bees.”

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The tumultuous recording process surrounding Yankee Hotel Foxtrot has long been Wilco mythology: the label drama, the conflict between then-member Jay Bennett and Jeff Tweedy, how the band pioneered streaming culture by putting the album on their website months-in-advance, etc. But perhaps the most important factor into the album was largely not focused on in Sam Jones’ excellent documentary I Am Trying To Break Your Heart and that’s Chicago experimental mainstay and Loose Fur cofounder Jim O’Rourke, who ended up mixing and changing the whole direction of the project. Thanks to O’Rourke as well as Wilco’s new drummer Glenn Kotche (also a member of Loose Fur and an local experimental music veteran), the songs became deconstructed, a little weirder, and a little wonkier. O’Rourke would go on to co-produce Wilco’s next album “A Ghost Is Born,” which darkly expands and deconstructs even more the studio experiments and successes from Foxtrot. It’s the most brooding Wilco album and a lot of Wilco fans will say it’s their best.

While that album’s “Spiders (Kidsmoke)” is undoubtedly one of the most ambitious songs Wilco have drawn up, with its 10 plus-minutes of a cathartic, Krautrock-freakout, the band continued to keep that adventurous spirit alive in their later albums. “Bull Black Nova” off Wilco (The Album) accomplishes this with smoldering guitars but perhaps the best encapsulation comes from “Art of Almost,” the bonkers opener from 2011’s The Whole Love. Jeff Tweedy explained that song last year, “‘Art of Almost’ is this strange combination of all the different members putting their mark on something and having it still somehow hold up and be a thing. Live, it just gets kind of more and more intense.”

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On the 2007 press cycle for Sky Blue Sky, Wilco’s sixth album, Jeff Tweedy talked with the Wall Street Journal about his favorite albums from the ’70s citing Wings, Bob Dylan, Nick Drake, and the Clash. In previous interviews, he’s also mentioned his love for Television’s Marquee Moon, T. Rex’s Beard of Stars, and Talking Heads’ Fear of Music. You can find traces of each throughout Wilco’s discography but it was on Sky Blue Sky, the first studio album with the current Wilco lineup (adding guitarist Nels Cline and multi-instrumentalist Pat Sansone), that was their sunniest, most ’70s-inspired effort yet. While not as frenetic as the twang rockers from their early catalog, these tracks like “Handshake Drugs” and “Impossible Germany” are just as compelling even though they unfold in a much more relaxed way. These kind of Wilco songs with warm guitars and lush arrangements are found throughout their 10 albums, with songs like “The Whole Love,” “Hummingbird,” and “Dawned On Me” rounding it out.

Wilco’s latest offerings, 2015’s Star Wars and 2016’s Schmilco, not just in their goofball titles alone were as close a sonic equivalent to Jeff Tweedy’s stage banter as you can get: irreverent and to-the-point. They dropped Stars Wars without warning releasing it for free on their website and its album cover was a painting of a cat that hangs in the kitchen of the band’s Northwest Chicago studio The Loft. 

Compared to the rest of Wilco’s discography, these two albums are slightly off-kilter (a curveball blast of dissonant noise called “EKG” kicks off Star Wars), but there’s an energy that channels the reckless nature of their beginnings. Star Wars highlight “Random Name Generator” exudes some T. Rex-indebted swagger while the wonky “Common Sense” boasts perhaps the most subtly challenging arrangement of Wilco’s catalog, showing a band still able to change it up. But most importantly, the current iteration of the band has been locked in for a over a decade. There’s an effortlessness and fun to these new songs that were hinted at during some of the band’s highlights like Foxtrot cut “Heavy Metal Drummer” and the suburban sad-sack rocker “Hate It Here” off Sky Blue Sky.While the band’s come a long way from the cigarette-tinged twang that coloured A.M., the Wilco of 2017 shows no signs of letting things get stale.

 

Wilco will reissue their first two albums, A.Mand Being There, on December 1st via Rhino. The new editions will feature an array of bonus tracks, including alternate takes, unreleased songs and live recordings. A live rendition of the band’s gritty and lonesome A.M. track, “Passenger Side,” recorded in Los Angeles in 1996

The deluxe editions of both albums will be released on CD and double LP, while Being There will be released as a five-CD collection or a four LP set. Digital versions of both albums will be available, while limited-edition color vinyl copies can be purchased on the Wilco website.

Following the dissolution of their previous band, Uncle Tupelo, Jeff Tweedy, bassist John Stirratt and drummer Ken Coomer helped form Wilco and released their debut album, A.M. in 1995. The new reissue will feature eight unreleased bonus tracks, including an early version of “Outtasite (Outta Mind),” and Uncle Tupelo’s last studio recording, “When You Find Trouble.”

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Stirratt wrote new liner notes for the reissue as well, and in them, he says of A.M., “Listening back to records 15 to 20 years later, I’m always taken with the confident but guileless quality of bands in their 20s, that strange mixture of innocence and conviction, and this is one of those records – we were barely a band at that point, just trying to make some noise.”

Wilco released Being There, a double album, in 1996. The expanded edition of that record includes a full disc of outtakes, alternate versions and demos, plus a 20-song live set recorded at the Troubadour in Los Angeles November 12th, 1996, and a four-song set recorded the following day at the Santa Monica radio station KCRW.

A.M. includes original album + 8 previously unreleased outtakes and liner notes by John Stirratt.

Being There includes original double album + 15 previously unreleased songs and demos plus a live performance at KCRW (11/13/96). CD/Digital version also includes Wilco live gig from The Troubadour (11/12/96).

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