New Wilco

[Cosmo]

The more I think about it, Art of Almost might be as good as anything Wilco has ever done. The slow-building momentum, the transitions, the drum work ... just an all-out banger.

 

[Kato]

The more I think about it, Art of Almost might be as good as anything Wilco has ever done. The slow-building momentum, the transitions, the drum work ... just an all-out banger.

If I listened to that song while watching an episode of "Breaking Bad," my heart might explode!

 

[YGBFKM]

Coming around on this one. Listened to Art of Almost again yesterday, and that last few minutes is incredible. But mostly, I'm digging this album because it calms our 2-month-old. Thanks, Jeff.

 

[Double Down]

Ya, that was hilarious. I will give the new album another spin just for that awesome evisceration.

And watching Tweedy there made me realize just how different the personalities of he and Farrar are. It's no wonder their partnership was doomed and they no longer speak.

I read an article looking back at Uncle Tupelo 10 years after they'd broken up, and it's pretty obvious the blame can be pinned entirely on Farrar. Tweedy said when their records would come out, they'd have to sit for interviews, and because Farrar didn't give a **** about awkward silences, he'd just sit there and say nothing. So Tweedy would sort of step up to fill in some of the silence, talk about the band, etc. And as they got older, and Tweedy started to actually want to write more and sing more, Farrar resented the entire thing. Tweedy felt like Farrar seemed to want him to stay 17 and play bad guitar in the background forever. It's sort of a shame they couldn't at least amicably part. I mean, I know it's still frustrating that Isbell was essentially forced out of DBT because both Cooley and Patterson didn't feel like there was room for a third songwriter getting five tracks on every album (and obviously the whole Shauna thing played a role), but at least they parted on mostly good terms. Hell, Isbell even sat in and played guitar at a show in Athens with them earlier this year. Farrar and Tweedy haven't even spoken in like 15 years.

If you've ever read that article in SPIN that Klosterman wrote about Tweedy just as A Ghost Is Born was coming out (it's in one of Klosterman's books), Klosterman asks Tweedy if he ever listens to Son Volt, and Tweedy says he does a lot and he always wanted to hear what Farrar was doing artistically, even when they weren't speaking for 15 years, and Tweedy recounts reading some interview with Farrar where Farrar said he has no interest in listening to any Wilco record. Tweedy sounds a little heartbroken by the way Farrar still seems to view him as an inferior sellout.

I haven't bought the new Wilco cause I ain't got a dollar to spare these days, but I've streamed it a few times and have loved it. And I thought Wilco (The Album) was horrid.

 

[YGBFKM]

I assume you've read Learning How to Die. Great post, until the end, you asshole!

The consensus seems to be that The Album is not edgy enough. Not Wilco-y enough. But I thought it was a grown-up album with grown-up lyrics. It seemed less pretentious than a lot of Wilco's stuff, which was a refreshing change. It's a million miles from YHF, but, to me, that was exactly why it was quintessential Tweedy. I'd be curious to herar how he likes it looking back, especially after the new album is getting so much praise.

 

[Reuben Frank]

I read an article looking back at Uncle Tupelo 10 years after they'd broken up, and it's pretty obvious the blame can be pinned entirely on Farrar. Tweedy said when their records would come out, they'd have to sit for interviews, and because Farrar didn't give a **** about awkward silences, he'd just sit there and say nothing. So Tweedy would sort of step up to fill in some of the silence, talk about the band, etc. And as they got older, and Tweedy started to actually want to write more and sing more, Farrar resented the entire thing. Tweedy felt like Farrar seemed to want him to stay 17 and play bad guitar in the background forever. It's sort of a shame they couldn't at least amicably part. I mean, I know it's still frustrating that Isbell was essentially forced out of DBT because both Cooley and Patterson didn't feel like there was room for a third songwriter getting five tracks on every album (and obviously the whole Shauna thing played a role), but at least they parted on mostly good terms. Hell, Isbell even sat in and played guitar at a show in Athens with them earlier this year. Farrar and Tweedy haven't even spoken in like 15 years.

If you've ever read that article in SPIN that Klosterman wrote about Tweedy just as A Ghost Is Born was coming out (it's in one of Klosterman's books), Klosterman asks Tweedy if he ever listens to Son Volt, and Tweedy says he does a lot and he always wanted to hear what Farrar was doing artistically, even when they weren't speaking for 15 years, and Tweedy recounts reading some interview with Farrar where Farrar said he has no interest in listening to any Wilco record. Tweedy sounds a little heartbroken by the way Farrar still seems to view him as an inferior sellout.

I haven't bought the new Wilco cause I ain't got a dollar to spare these days, but I've streamed it a few times and have loved it. And I thought Wilco (The Album) was horrid.

hey double down ... Jeff's perspective on the demise of Uncle Tupelo is a bit different than Jay's.

this is from Relix Magazine in 2005. doesn't appear the piece is still in their on-line archive, but I saved it:

[size=10pt]Sunk into the cushions in my living-room couch, Jay Farrar is
struggling to talk about Uncle Tupelo, the seminal band that he, Jeff
Tweedy, and Mike Heidorn had formed in Belleville, Illinois, while
they were still teenagers. A self-described introvert, Farrar is
having trouble finding the words to tell the tale of betrayal and
dysfunction that he has never told in any depth for more than a
decade. As for me, I'm struggling to articulate questions that might
unlock his complicated feelings.

The tension in the room proves all too much for my 125-pound St.
Bernard, Gracie, a determined guardian of the emotional status quo
whose life purpose is to neutralize discomfort. She abandons her
bone, abruptly charges across the room, buries her head in Farrar's
lap and eagerly begins to lick his face. This is a blatant violation
of rules of behavior around Farrar, whose intense demeanor seems to
demand a similar decorum of everyone around him. Somehow, though,
even Farrar has to give it up for the dog. Suddenly, the dignified
indie-rock icon is displaced by the Midwestern father of two young
children as he holds Gracie's face and pets her head
energetically. "You need attention, yeah, nobody's asking you
questions," Farrar says gently, the smile on his face matched by the
gleam of reassurance in Gracie's eyes. He pats her enormous rib cage,
and she lies down on the floor near him.

Then we head back into the strained narrative. As all devotees of
alternative country know, Uncle Tupelo made four albums and then
broke up acrimoniously in 1994 because Farrar and Tweedy, the group's
two songwriters, ultimately couldn't get along. Since then, both men
have gone on to notable careers, while Uncle Tupelo has become
enshrined in music lore both for the quality of the songs and the
considerable influence it exerted on subsequent generations of bands.

This interview started just before Christmas last year when Farrar
was in New York to mix the tracks that would become Okemah and the
Melody of Riot, the splendid return by his newly reconfigured version
of Son Volt, the band he had formed shortly after Uncle Tupelo
splintered. We would talk again two months later when Farrar came
back to New York to master the album. He did not have a record deal
at the time. Okemah eventually came out this past July on Legacy, a
division of Columbia Records.

As Farrar spent ten days working in New York last December, he could
not have failed to notice that the walls of the city were papered
with posters announcing that Tweedy's band, Wilco, would be
headlining a New Year's Eve show at Madison Square Garden. Wilco had
started out consisting of the remaining members of Uncle Tupelo after
Farrar left. Since then it has evolved into Tweedy's personal
vehicle, with members coming and going. Only John Stirratt, the
bassist in the final version of Uncle Tupelo, remains from the
original lineup. In recent years, Wilco's highly publicized record
company battles and commercial success, documented by the film I Am
Trying to Break Your Heart and the band bio Wilco: Learning How to
Die by Chicago Tribune music critic Greg Kot, have called increased
attention to Uncle Tupelo's myth-shrouded history. The band's albums -
- No Depression (1990), Still Feel Gone (1991), March 16-20, 1992
(1992), and Anodyne (1993) -- were all handsomely repackaged in 2002
and 2003, and a compilation 83-93: An Anthology, was assembled for
which I wrote the liner notes. All that combined to motivate Farrar
to present his side of the Uncle Tupelo story. "I haven't really said
much about it," Farrar says of the breakup, as he takes a sip of
water, "because I felt that Jeff and I deserved a fresh start. We
were essentially kids back then, and we both made mistakes. It was a
traumatic thing that I didn't completely understand and that I didn't
really want to revisit. It was such a liberating experience for me to
be away from that situation with him, and it never occurred to me
that my life during that period would be put under a microscope. But
at this point there's a lot more discussion of Uncle Tupelo. And Jeff
has been talking about it since day one. So now I feel I have to talk
about it."

Of course, Farrar is partly responsible for his version of events
remaining private. Emotional revelation does not come naturally to
him, and he has repeatedly refused to discuss Uncle Tupelo in any but
the most general terms. Tweedy, on the other hand, is an
interviewer's dream. He's funny, charming, self-deprecating and has a
knowing eye for the telling anecdote and resonant detail. The two men
couldn't be more different, and for that reason, Tweedy's
interpretation of Uncle Tupelo has become the standard text.

That version, in abbreviated form, runs more or less like this. When
Farrar and Tweedy first met in high school, Farrar had already been
in bands with his older brothers and Tweedy idolized him. Though
Farrar is less than a year older than Tweedy (both are now 3Cool, that
older-brother/younger-brother relationship persisted after they
formed Uncle Tupelo with Heidorn. Farrar's songs -- desperate tales
of economic hardship and directionless lives -- dominated the band's
first two albums, and gave Uncle Tupelo a gripping sense of
significance. But as Tweedy's songwriting skills and confidence grew,
he began to assume greater prominence, and Farrar had a tough time
with that. While Tweedy bled his feelings, Farrar submerged his, and
the two men stopped communicating. Heidorn left the group, further
unsettling its precarious balance. A major label deal for Anodyne --
welcomed by Tweedy, viewed suspiciously by Farrar -- increased Uncle
Tupelo's visibility and heightened the pressure on the band just
enough to shatter it. A heart-broken Tweedy then bravely rallied the
remaining members of Uncle Tupelo to form Wilco. Feeling a bracing
sense of freedom, Farrar reconnected with Heidorn to form Son Volt.

While the trajectory Uncle Tupelo traveled is essentially the same in
Farrar's view, he reveals a deeper reason for the breakdown between
him and Tweedy. He describes an incident that occurred about a month
or two before the band traveled to Athens, Georgia, in 1992 to work
with R.E.M. guitarist Peter Buck as producer on March 16-20, an album
of acoustic country-folk that is regarded by many as Uncle Tupelo's
best work. "The most divisive incident occurred one night after a
show," Farrar recalls, his voice trembling as he tries to remain
calm. "I was driving. My girlfriend of seven years (Monica Groth, now
Farrar's wife) was in the van, and another friend of ours was in the
front seat. My girlfriend was sleeping in the back seat and Mike was
sleeping on the floor or something. "Jeff went in to get paid, and
came back out," Farrar continues. "Then we were ready to go home. As
I was driving, Jeff woke my girlfriend up and I saw a situation
develop that I'd seem before. It was common knowledge that Jeff's
pick-up routine was to start crying to elicit sympathy from whatever
female he was attracted to. To any outsider it would have been a
tragicomedy, because I'm punching on the brakes and punching the
gas. "I found out later that he was telling her stuff, like, he loves
her. He's always loved her. He thinks she's beautiful. In the rear
view mirror I could see him stroking her hair. It was a nightmare.
It was an affront to everything I considered important at that time.
My girlfriend of seven years and the band. He was destroying all that
in one stroke. And he was literally doing it behind my back and right
in front of me at the same time. "Ever since that episode, every
other issue between us was exacerbated by that. That was probably
when I should have broken things up. After that I didn't have any
respect for him. I felt that I couldn't trust him."

Farrar says that he confronted Tweedy when they got home, but didn't
get a satisfactory response. "He was lucid and defiant," Farrar
recalls. "But he also seemed kind of out of it. So at that point I
told him to **** off, and I quit the band. The next day, his parents
called mine and said that Jeff 'wanted to be me.' I struggled with
that. I didn't know how to take it. Then every other day for about a
week he would call. He was more contrite, and after a week of sitting
around Belleville with no prospects, I decided to continue. "From
things he told me later, there's still a lot I don't understand. He's
admitted things like he'd looked through my mail. That coupled with
the idea that he 'wanted to be me,' I'm still perplexed by that. I
don't understand it."

The lifestyle differences between Farrar and Tweedy began to manifest
themselves more starkly as well. In an email he sent me last March,
Farrar responded unperplexed to a comment Tweedy had made about him
in Kot's book. "Jeff relates some anecdote about me being reluctant
to talk about sex and somehow being out of step because of that," he
wrote. "I never did feel that indulging in what I felt was a
misogynistic pastime of boasting of sexual exploits was anything to
talk about. Not then or now." And then there was the issue of what
Farrar describes as Tweedy's 'excesses.'"

"The one condition I put on rejoining the band is that Jeff stop
drinking," he says. "And for the most part he did, at least around
me. After the No Depression album, it was almost like Jeff made a
conscious decision to emulate the lifestyle of Charles Bukowski. And
he did. There are references to that even in Kot's book." When Farrar
announced that he was leaving Uncle Tupelo for good in January of
1994, that led to one more confrontation with Tweedy. "When I spoke
to him about why I was quitting, I basically laid it out for him," he
says. "I told him that the dynamic had changed when Mike left and
that it wasn't fun for me anymore. My exact words were that I wanted
to be his friend, but that it wasn't possible in the context of the
band. I truly meant that. The only way to repair our relationship was
to have distance between us.

"His response was to call me a '*****,' and he continued to call me
that over and over. I said, "Why are you calling me that? I came
here to have a heartfelt talk with you, and you're using this
bullying tactic on me?" I was totally taken off guard, and that was
how our meeting ended -- with me kicking a table because I didn't
want to be called a ***** anymore."

Needless to say, as in so many similar situations, that wasn't the
end of the affair. Because the band owed money to its manager, Tony
Margherita, Farrar agreed to a final string of dates over four or
five months to pay off the dept. During that final tour Farrar often
refused to play or sing on Tweedy's songs. That's not something I'm
particularly proud of," he admits, "but that was a time of total
dissention. I was being treated as a pariah. I just withdrew, which,
in retrospect, was the wrong thing to do. I should have had more of
an explanation for those guys. I thought it was self-evident. But
Jeff had rallied the band around him, and had promised to carry on.
It was like The Scarlet Letter -- I was being treated like an
outcast.

"I didn't care, and I didn't want to be there. I was only there
because I felt indebted to Tony, who had put money out and helped
finance the band. Maybe I should have tried to find another way to
pay off that debt. It was an extremely difficult period of my life."

Since then, Farrar and Tweedy's interactions have been
limited. "Directly after the band broke up, Jeff started giving
interviews saying I hated his guts and things like that," Farrar
says. "I sent him a letter saying that I thought his new record [the
first Wilco album, A.M.] sounded good, and I didn't hate his guts, or
something to that effect. I wanted to get us in the direction of at
least having a rapport. I never heard back."

Perhaps a year and a half later, Tweedy called him, Farrar says, and
the two men would see each other from time to time. "I went to one of
his shows in New Orleans, and I went to a soundcheck in St. Louis,"
Farrar says. "I think he came to one of my shows in Chicago. Whenever
we did get together it was okay -- in limited amounts. And that was
the key word. We got along fine for a limited period of time."

One slight still rankles Farrar, however. "In the back of my mind I
always imagined that it would take some sort of dramatic event, like
one of our mutual friends or relatives dying, for us to strip away a
lot of the crap that exists between us," Farrar says about his
relationship with Tweedy. "But when my father died [in 2001], I
received a note from Jeff's wife expressing condolences, which I
thought was very generous. But then on the card, there was her name
and she signed his name to it. I felt that the fact that he couldn't
even acknowledge that was incredibly cold. You can find the time for
that. I mean, Jeff's first practice in a band was in my dad's house,
with my dad upstairs smoking a pipe."

So what now? What does Farrar hope will come of his confessions? "I
go back to the reason why I decided to talk about it now," he
says, "which is basically to provide some balance to the story. If
there's no balanced perspective, there's a danger of it becoming a
revisionist history. One misconception that I find difficult to
absorb is Jeff's portrayal of himself as a victim, which I find to be
absurd. Any discussion of that would have to start with his excesses
and his inability to come to terms with the fact that in order to
mature as songwriters, musicians and people, we needed to have some
distance between us. He never could accept that.

"I hope Jeff realizes that there were opportunities lost," he
concludes. "Along the way there were steps we could have taken to
have a better relationship and a better understanding. It could have
happened. But it didn't."

 

[Double Down]

Interesting. Thanks for posting that. I don't think it's overstating it to say that Tweedy clearly had a substance-abuse problem and a big ego (at least once he found his confidence) that played a huge role in things. (Just look at the way he treated Jay Bennett). It's just too bad Tweedy and Farrar can't put all the other **** aside and remember why the found one another in ******* Bellville in the first place, because they loved music. I don't want to see a reunion or anything. But it would have been interesting to see what kind of music they would have made if their collaboration had continued, or at least remained cordial. I've just never liked Farrar's music as much, which is probably why I just accepted Tweedy's version of things. (And, as this story points out, Farrar would barely talk, so it was easy for Tweedy to shape the narrative.)

I've probably been too dismissive of Farrar over the years just because I'm kind of "meh" on Trace. To this day, I don't know that Tweedy's written a song as beautiful (and sad) as "Still Be Around."

 

[Reuben Frank]

Interesting. Thanks for posting that. I don't think it's overstating it to say that Tweedy clearly had a substance-abuse problem and a big ego (at least once he found his confidence) that played a huge role in things. (Just look at the way he treated Jay Bennett). It's just too bad Tweedy and Farrar can't put all the other **** aside and remember why the found one another in ******* Bellville in the first place, because they loved music. I don't want to see a reunion or anything. But it would have been interesting to see what kind of music they would have made if their collaboration had continued, or at least remained cordial. I've just never liked Farrar's music as much, which is probably why I just accepted Tweedy's version of things. (And, as this story points out, Farrar would barely talk, so it was easy for Tweedy to shape the narrative.)

I've probably been too dismissive of Farrar over the years just because I'm kind of "meh" on Trace. To this day, I don't know that Tweedy's written a song as beautiful (and sad) as "Still Be Around."

Still Be Around is just one of the most powerful songs ever written. I've always found Jay's music more enduring and more meaningful. I do enjoy a lot of Wilco, mainly up through Yankee Hotel Foxtrot, and they really are great live, but Jay's work has always just resonated more genuine and real to me. Simple American folk music. Where Jeff keeps trying all these different things, experimenting, changing styles, Jay just writes songs and sings 'em. Their work has diverged so much over the years that it's hard to imagine them still recording together, even if there weren't any personal baggage. There was a powerful thread back in the Uncle Tupelo heyday that tied Tweedy songs like Gun together with Farrar tracks like Whiskey Bottle, but it's tough to find any common ground anymore. Heck, it's 15 years later. Hey, you should give some Farrar stuff a second chance. Some of his later stuff is very good - Sebastapol, Wide String Trempolo ... I think The Search is quite underrated.

 

[Double Down]

I really should give it a another chance, to be honest. There's no bloody reason I should enjoy Uncle Tupelo but feel blah toward Son Volt, since UT is 90 percent Farrar.

 

[YGBFKM]

I've probably been too dismissive of Farrar over the years just because I'm kind of "meh" on Trace.

Who ARE you?

I would argue at least three days a week that Trace is my favorite album of all-time. I could play Windfall, Ten Second News, Too Early and Mystifies Me on a loop for hours, hell, days. Of course, I haven't liked anything Farrar has done since then even half as much.

That article was very interesting. Tweedy can be engaging and hilarious at times, but like the Jay Bennett stuff, he can also be a real asshole. Whether that was a sympton of the substance abuse or exacerbated by it, I have no idea. I think I remember reading a few years back about the band recording an album and the whole time Tweedy did all his work in a room by himself (now that I think about it, I think that may have been substance related). Regardless, it seems odd given how well the band appears to get along live, but maybe it's just one of those "artist" quirks. Farrar's introvertedness seems like it could be maddening, but I'm guessing Tweedy probably is the harder guy to work with, which makes it all the more surprising the current edition of the band has been together so long (relative to rock 'n' roll time).

 

[JayFarrar]

Because of some freelance assignments, I have had two opportunities to interview Farrar and have spent some time (hilariously and mostly by accident) with Tweedy.

The first interview with Farrar went poorly. It was pre-show at a music festival and he didn't have much to say. Which is say he didn't talk outside of grunts, yes, no, thanks and that was pretty much it.

The second time, he was solo and had a guy from the Blood Oranges with him. It was at least an hour post-show and this time was completely different. When I mentioned I'd interviewed him before and that it hadn't went well. He looked at me funny and asked if it was before or after a show. When I said before, his mood changed and he apologized, said that he gets into a zone and stays. Just part of his process, I guess.

We talked about that particular tour and his most recent release. He seemed to resent that people confused intensity with aloofness or the other things he had been called. But it was a pretty good 20 minutes and he even wrote down the set list on a piece of paper for me.

We kept chatting and I think I even helped load the mini-van he and the Blood Oranges guy were taking to the next stop.

In terms of songwriting and musicianship, Farrar is far superior to Tweedy, who, in fairness, has improved in those areas. But in terms of showmanship Tweedy lapped Farrar more than a decade ago.

Tweedy has also kept the extremely reliable John Stirratt around, which was an extremely wise move.

 

[YGBFKM]

I'll give you songwriting on Farrar, but not musicianship.

 

[Double Down]

I feel like we've had this debate 100 times, and some if it just comes down to preference, but tell me, what song has Farrar written (post Uncle Tupelo) that's lyrically FAR superior to I Am Trying To Break Your Heart? Or Via Chicago? Or Muzzle of Bees? Because I call bull**** on that.

 

[YGBFKM]

Everything on Trace. And while I'm squarely on the side of Tweedy at this point (except for Trace), Tweedy's songwriting is, to use your word, meh. Actually, reading Kot's review of the new album, he summed it up better than I can:

Tweedy indulges in lyrics that blur the line between nonsense and poetry, revelation and obfuscation. The words, it turns out, are really mostly about sound rather than sense.

I want to hold you in the Bible-black predawn
You're quite a quiet domino, bury me now
Take off your Band-Aid because I don't believe in touchdowns
What was I thinking when I said hello?

Really?

I prefer this:

When you find what matters is what you feel
It arrives, and it disappears
Driving down sunny 44 highway
There's a beach there known for cancer
waiting to happen

When you're out across the county line
The news travels slower than a ten-second buzz
And only you'll ever know
'Cause day by day it disappears
Only you'll ever know

And it's hard enough soaking up billboard signs
You scorch and drown alive
Never knowing why
The levee gates are open wide
There's a cough in the water,
and it's running into town.

Bright eyes, don't change, stay the same
There must be an answer
for what keeps it going on
But only you'll ever know
'Cause day by day it disappears
Only you'll ever know

or this:

Mileage has taken its toll
Paid it with lines to show
You've had your fill of asphalt
Cough tremors, and smoke-filled doors

Look like the habit controls you
You look like you need a rest
You've made it to the timber-line
Don't know what to expect

God knows, you don't need it
Too early, you might be the one
To find yourself somewhere else
Too early in the sun

Song strains, distant, over
A barroom drink-filled roar
The old folksinger lays it down
Not for long, no longer ignored

Spinning tales of temptation
Gambling days lost and won
No crimes committed here
Too much habit could be the one

God knows, you don't need it
Too early, you might be the one
To find yourself somewhere else
Too early in the sun

Never seen half of what you've seen
Real life never quite adds up
The road goes on when the faces don't
Word of mouth never tells the truth

Like to hear your story told
With a two-step beat and rhyme
Could be Tennessee or Texas
On and on, that road winds

God knows, you don't need it
Too early, you might be the one
To find yourself somewhere else
Too early in the sun

 

[Reuben Frank]

The second time, he was solo and had a guy from the Blood Oranges with him.

Mark Spencer. Incredibly talented guy and really brought out the best in Jay musically. Mark was in on the last couple Son Volt tours, but their handful of shows together -- just Jay and Mark and guitars - were something special. Saw 'em at Maxwell's a couple years back and it was an all-timer.

 

[Reuben Frank]

what song has Farrar written (post Uncle Tupelo) that's lyrically FAR superior to I Am Trying To Break Your Heart? Or Via Chicago? Or Muzzle of Bees? Because I call bull**** on that.

I would put Tear-Stained Eye, Windfall, Methamphetamine, Driving the View, Highways and Cigarettes, Outside the Door ... to name a few ... on par with Jeff's best

 

[Double Down]

I'm fine with saying Farrar is on par with Tweedy as a songwriter, and even superior in many instances, but not FAR superior, which is the way SJ's JayFarrar initially said it.

 

[YGBFKM]

I think he's a bit biased.

I like mystery in my lyrics. I like cryptic. But good songwriters, IMO, can do that and still make a fairly discernible point. That's why I liked The Album. I really liked the music, and I didn't have the regular WTF? moments I normally have when listening to Wilco. Obviously, I can get past those, but sometimes, while I apppreciate Tweedy's willingness to occupy space far outside the box, it takes away from my overall experience.

 

[JayFarrar]

The second time, he was solo and had a guy from the Blood Oranges with him.

Mark Spencer. Incredibly talented guy and really brought out the best in Jay musically. Mark was in on the last couple Son Volt tours, but their handful of shows together -- just Jay and Mark and guitars - were something special. Saw 'em at Maxwell's a couple years back and it was an all-timer.

Mine was the New Daisy.

I acknowledge some bias and I also acknowledge that "far" superior was a but of hyperbole.

What I can't deny is Tweedy, occasionally, has lyrics that sound like they were written by the manatees that write Family Guy.

 

[Kato]

I have as big a man-crush on Tweedy as anybody but it does seem like, at least early in his career, that he was probably a hard guy to work with, especially for others with big personalities/egos.

After the Uncle Tupelo breakup, there was the Jay Bennett stuff. Jay sure seems pretty dickish in the movie and sure looked like he was trying to give himself equal billing in what had really been someone else's band, but you can't tell me that Jeff wasn't part of the disfunction, even if it was his own personal problems getting in the way.

If you've ever seen "Man in the Sand," it was pretty clear that Jeff and Billy Bragg didn't see eye to eye on a lot of stuff. Jeff looks hard to work with (this movie, of course, told more in Bragg's perspective whereas IATTBYH was told more in Jeff's). However, I'll add this: I'm convinced that Billy Bragg wanted Wilco simply as an alt-country backing band for his record and didn't know what he was getting with Tweedy & Co. I also think Bragg was a little ticked that Wilco might have done a better job with Woody Guthrie's songs than he did and couldn't admit it. While Billy wanted more pro-union, anti-fascist songs, Jeff was finding love songs and other lyrics with more depth. (I know this is over-simplifying it a bit).

I really hate comparing Wilco and Son Volt because they have gone such different directions. Twenty years later, is it really worth debating the breakup of Uncle Tupelo and the bands that came out of it? At the time they came out, I really liked "A.M" but I loved "Trace." When the second albums came out, "Being There" grabbed me and shook me and convinced me to follow Wilco, while the second Son Volt record sounded like it was made up of outtakes from the first. Almost a carbon copy (my thought at the time).