Don’t worry, you’re not missing much in the rest of the lyrics... EXCEPT THE FINAL STANZA WHERE JEFF REVEALS HIS WHOLE PHILOSOPHY ON THE MEANING OF LIFE!
Next, the title track: Sky Blue Sky Jeff Tweedy: vocals, acoustic guitar, electric guitar John Stirratt: bass Glenn Kotche: drums Mikael Jorgensen: piano Nels Cline: lap steel Pat Sansone: Chamberlin Thinking about it, Wilco isn't a band that often does title tracks. It seems to be something that artists are either into or not. My beloved Joni, for instance, almost always had a title track. Of their studio albums, this is actually Wilco's only exact title track. 'Summer Teeth' adds a space and 'Whole Love' drops the 'the.' None of this matters, these are just idle thoughts here on this Monday morning. A title track can sometimes encapsulate the general themes of the album, but Jeff and co. seem to have gravitated more towards phrases either included in the lyrics somewhere (A Ghost is Born, Yankee Hotel Foxtrot) or pulled out of the cosmos (Being There, Ode to Joy, of course Star Wars). So what is 'Sky Blue Sky'? It's an absolutely lovely acoustic shuffle with lap steel guitar (an instrument that always seems to add an element of weeping melancholy). This is the first track Wilco has released in a long time that I feel could have fit in quite nicely on Being There. This is cosmic American music, in that Gram Parsons tradition. It is played with subtlety and patience. The lyrics are drawn from Jeff's own life, about a time that a Memorial Day parade blocked his way home in Belleville: "I get all the way home, except I pull up to the stop sign at Main Street and there's a crowd of people in my way, and there's a parade going through. So I can see my house but I have no choice but to sit and watch the parade. And I thought that was a pretty, you know--there's something poignant about that, there's something nice about that, at the same time sort of sad. Because it was a rainy day, it was a parade in the rain, and there was still a lot of people there, and it was hot, but it was raining, so windows down in the car, it was raining in the car, watching the parade. You know, just watching people getting drunk, all the stuff that's kind of in the song. And then all the colors, you know, maroon, you know, whatever, those are the school colors. And my mind in the song is just kind of having that time to pause and think and look across the street at my house or where I needed to go with maybe time enough to make the decision to leave." It is a song of realization that this town is dying and it will never be big enough for Jeff. The sky blue sky being the promise of escape--and sunny days, compared to this hot, rainy day watching the parade. I've just had quite a strong memory. I really started to take notice of this album in 2011. At that time I was living in an apartment above a Japanese restaurant and we didn't have assigned parking for those of us who lived there. It was street parking. On many Friday nights, there would be big concerts on the green in the little town I was in and all the parking would be taken by people flooding in for these concerts. I would get home from work and not have anywhere to park and I'd be blocked from just going home which was all I wanted to do. Also while living there I got extremely sick with bronchitis. I was in bed, feeling just awful, and I watched I Am Trying to Break Your Heart for the first time and then listened to this album. Really listened for the first time and it started to really connect. I was a young adult but an adult and this album hit me squarely. These are just memories. I love this song. I think it is beautiful, pure and the lyrics are both poetic and simple. I was pleased to see that it made its live debut at the North Carolina Museum of Art in Raleigh. I've been there many times and their concert venue is really beautiful, a little amphitheater sort of in the fields and woods by the museum. I can't think of a better location for this song to be performed.
Impossible Germany is fine within the context of the album. It helps with SBS's flow. However as a stand alone track, not so much. For me, SBS works in it's totality. Individually, the songs don't work as well. SBS is prime example of the whole being greater than the sum of the parts. That, plus I really like the sound of the album.
While pretty, Sky Blue Sky definitely has a sadness running through it as Jeff looks back on a specific moment in time. It makes more sense with Parachute Woman's explanation. It's interesting that they chose this as the album's title. I really like this track.
Sky Blue Sky: by Jeff Tweedy Begins as what Jay might have called a guitar strumming ditty and I’m perfectly happy with it. It’s warm, pleasant and leaves one wanting to sway with the music (including the melodic guitar break). The let-it-all-out autobiographical lyric writing continues: “With a sky blue sky This rotten time Wouldn't seem so bad to me now Oh, I didn't die I should be satisfied I survived That's good enough for now” Idle thought: I wonder what his bandmates first thought when they’d hear these intense lyrics? Raised eyebrows? Maybe relief (at least for the three who’d been on board for Ghost)? This is now the second song from this album that goes onto my playlist.
It's the first Wilco song in a long time, maybe ever, that doesn’t sound like a learning experience, an exploration of some kind, an attempt at something they haven’t done before. All through this thread, I’ve been astonished by the fact that almost every single song from day one saw Tweedy (& co.) making progress, making an experiment, going forward, trying their hands at something new to them (be it in a well-known genre). This song is not like that at all. It’s reverent towards the form it chooses for itself (let’s call it Americana), it plays by the rules and by the (Wilco) book. For the first time also, the melody itself is almost borrowed from an older one : it’s Far, Far Away with a little twist (warmer, slower, dreamier) and more precisely, the beginning of the Far, Far Away’s guitar solo (maybe that's why it sounds like it would indeed be at home on Being There). And this approach is only fitting, since the lyrics invite us to a trip down memory lane… When it was released, I was already familiar with it as “Lullaby for Rafters and Dreams” (ripped from the short film it was featured in) and I had it filed in my “Tweedy solo curios” playlist. So I was a little taken aback that this older solo hidden treasure was now the title track of the new Wilco LP (don’t mess with my carefully curated playlists or rarities, Jeff !). But I’ve grown to love this song to death. I think it’s a beauty, a lesson in restraint and sensibility, quite close in mood to Neil Young’s Harvest Moon, except the chorus brings it to another level of depth. Tweedy sings it like a whisper, like he’s daydreaming or humming in a daze or in his sleep, but there’s a profound gravitas at play too, like a second layer, the song working as a memory of a moment of memory, which is a very moving idea. Sky Blue Sky is not an adventure, nor a discovery or a foray in an unknown field. It’s just a “mother****ing song”, like Jeff says in the companion DVD, but a splendid one at that.
Great write up. You have never seen them live? Wow! When possible again you need to correct that. Indeed a superb song that became the live tour de force. He plays the solo differently every night. Have had trouble keeping up with this thread but Sky Blue Sky is a superb album, first 4 tracks all 5/5.
While it sounds like it could have been on Being There, the band at that time didn't have the textures and tones I can hear in this track - a simple act of obtaining experience in the recording studio and learning how to get the sound in your head. When I listen to "Red Eyed and Blue," with a similar sound, it sounds much more raw. This song is lush. They started getting this kind of studio know-how maybe on "California Stars"? "True Love Will Find You in the End"? Certainly by "More Like the Moon." There are any number of pop/alt-country songs with that same woozy, melancholy vibe. Obviously, "Harvest Moon" by Neil Young. "Suppertime" by The Odds. "Seen a Ghost" by The Honeydogs. But I really like this one:
"Sky Blue Sky" is another one of those songs that seemed tailor made to me when I really leaned on this album for support. It was another one of those songs that seemed to be Jeff speaking to me personally, assuring me that whatever awful thing was going on at that time, I would get through it - I would survive it. I pulled the lyrics up this morning after reading everyone's excellent posts and it had never struck me how searingly autobiographical a song it is. It is an intensely sad song. The "muted" nature of the music and the vocal delivery fit it perfectly. One of my favorite songs on this record for sure.
Nothing more needs to be said. "Impossible Germany" is a showstopper for me every time. I never get sick of the studio version or the live version — it's just perfection. I'm not a super religious person, but I used to say the instrumental break in "Impossible Germany" is basically the equivalent of a religious experience for me. Nels' part is obviously mind-blowing, but I love the harmonizing lines Jeff and Pat play to complement it. For me, this is peak new-era Wilco.
Hello! Thanks. This is where the Wilco obsession really blossoms. Great group of people in this thread!
Sky Blue Sky is a beautiful song. Agree with @Fortuleo that it definitely harkens back to Far, Far Away. It has some real Tweedy-isms in terms of how he uses the C chord shape. Tweedy has a way of plucking out melodies while strumming chords as well, that shows up here. It’s not as complex as Travis picking, but is closer to Carter style (think of something like Worried Man). He does something similar on Mountain Bed. I think this song also marks some important shifts in Jeff’s songwriting. Musically this is the new Wilco songwriting template. Jeff figures out a folk song on acoustic and the band treats it. His more recent work gets criticized for being “samey”, but there is something about the Wilco gang that inspire him to flesh out some songs with them instead of just doing them himself with Spencer on drums. That model seems to start here. I’ll also note we hear Nels’ slide guitar for the first time on this track. He has a very non-traditional approach to lap steel. It’s a very distinct sound that would make a Nashville pro shudder, but it’s not so different from Jeff’s own innovation with Warm to replicate pedal steel himself. It’s not as technical as the real thing, but it gets the job done. So while Bob Egan and more so Lloyd Maines provided a more traditional steel sound on the early albums, Nels’ quivering, weeping steel guitar is effective here. Lyrically too, we’ve come a long way. To return to Far, Far Away, that song’s sentiment was wrapped up in the anxieties of a travelling musician. And as we’ve explored, those anxieties only escalated through Ghost in which Tweedy anticipated his death. Now, as we heard with Either Way’s serenity prayer, he didn’t die and that’s “good enough for now”. Serenity indeed. As Jeff begins conquering his demons, his lyrics can move in new directions. Last, this was one of the songs I heard in a VW ad. Fine by me. Didn’t influence my car purchasing one way or another, but good for them. If you’re a gear spotter, you’ll note this is when they started getting some really nice boutique gear.
Great post. I agree with everything here. I'm glad you brought up Jeff's distinctive melodic rhythm guitar playing. While his Neil Young-like electric guitar leads and shredding have received a lot of attention, his acoustic picking is just as impressive. He can make a simple three chord song sound very full with the amount of hammer ons, pull offs, mini licks and other melodic touches he adds, seemingly effortlessly. It's those little touches that make the song. If you've ever seen a Jeff Tweedy solo show, or if you watch any of his recent Instagram from-the-couch performances, you'll notice it right away. His solo acoustic playing is what really sets him apart, for me anyway. The only singer/songwriter/guitarist who can achieve this and captivate me solo in this way is Paul Westerberg. As for Nels, I personally do prefer that more traditional lap steel, like you mention, but I agree his approach works on "Sky Blue Sky."
“Sky Blue Sky”- Very nice write-up by @Parachute Woman! The most beautiful song on the record. A classic little Tweedy ditty. The lyrics are superb and I think so many of us can relate to them. He could be singing about my hometown. This is just a masterclass on how to write a song. I love the guitar tone on the little solo towards the end. Not sure if that is Jeff or Nels. Just a sweet and perfectly performed song that is most likely my favorite on the record. It must be because it is reminiscent of Being There and this is Wilco music in its purest form. Love it! 5/5
Agreed on all accounts, Sky Blue Sky is a wonderful folky tune, a mix of older song ways being nicely handled by the new band. Love it too ...
SKY BLUE SKYTITLE TITLE DETAIL BMI Work # 8834903 ISWC # T-073079791-7 Total Controlled by BMI: 100.00% ALTERNATE TITLES: COMMERCIAL VOLKSWAGON SONGWRITER/COMPOSER CURRENT AFFILIATION CAE/IPI # TWEEDY JEFFREY SCOT BMI 233292781 PUBLISHERS CURRENT AFFILIATION CAE/IPI # BMG BUMBLEBEE BMI 722300987 PEAR BLOSSOM MUSIC BMI 358220665 POEYFARRE MUSIC BMI 185731156 WORDS AMPERSAND MUSIC BMI
Interesting re: Nels and lap steel. Could you explain more about what you mean? I’m no aficionado on steel guitar, although I do love the sounds. What does Nels do that’s different from Egan?
Sky Blue Sky No much left for me to say. Parachute Woman introed it beautifully, and everyone else summed it up nicely. The kind of lilting acoustic, with the distant and beautiful lap steel is perfect. I like the more clear vocals on this album . This sounds close mic'd and gives it a certain intimacy that I like
I think so as well. I was about to give props to Nels for that and then realized it is probably Jeff.
Is this the very same person, Jeff writes about in his book? The guy who owned Record Works? https://m.riverfronttimes.com/newsb...****-on-building-calls-it-neoart-goes-to-jail
It’s hard to describe because I’m a guitarist who fakes my way on pedal steel sometimes. However, here’s my best attempt to explain: Lap steel is essentially a guitar set up so that you can’t fret notes with your fingers and you can only play with a slide. So it becomes more natural to play sitting down with the steel guitar on your lap. Some models have eight strings, but most have six just like a guitar. They normally have an open tuning, meaning if you strum it open, it sounds like a proper chord. If you’ve played guitar and especially slide guitar (which often uses open tunings), it’s relatively easy to transition to lap steel. However, someone who is a lap steel (or dobro - which is essentially an acoustic lap steel) player first probably has some more advanced instrument specific techniques up their sleeves. This would include things like pulling off from your steel bar to an open string, angling the bar to get different note combos, and bending behind the bar. These are all things a guitarist can learn, but a guitarist is going to gravitate to melodic single note slide runs because that’s probably how they’ve played slide guitar for the most part Then there’s pedal steel, which takes a lap steel adds more strings (usually 10 or 12) and adds pedals and knee levers which change the pitch of strings while your playing. And the tunings are far more complex, often with only seconds between strings, rather than the thirds and fourths on a guitar (and sometimes fifths in open tunings). It’s a total mind warp for a guitarist. In my experience, real pedal steel players just think differently from guitar players. In particular they have an economy with the bar. Because the strings are tuned closely to each other and the pedals can give you passing notes between strings, a good steel player can do massive runs without moving their bar hand. A guitarist is used to doing all the work with that left hand. When a guitarist switches to pedal steel, they tend towards chords with a few bends and slower melodies. This is the style Jeff replicates on guitar across Warm/Warmer. But the fast stuff takes a long time to master and it requires getting beyond “guitar brain”. To apply this to Wilco, compare Bob Egan’s pedal steel on Far, Far Away to Greg Leisz’ playing on the Lonely 1. Bob was a guitar player first, and although he became a steel player by trade you can hear it. His playing is chord-based with some gorgeous Pedal bends. (Even in 2016 Bob still couldn’t replicate the fine pedal steel solo on Blue Rodeo’s Hasn’t Hit Me Yet - he’s good but still not at that Nashville level). Greg is a pro. Most of his playing on Lonely 1 is single line melody, but at the 4:30 mark he plays this arpeggio that shows his hand. That’s how a real player plays. As for Nels... first, he never attempts pedal steel like Bob did. Just lap steel (which Max Johnston played on the first two albums). So he’s in the category of guitarists switching to lap steel; rather than pedal steel players simplifying to lap steel. On top of that, though, he is 100% Nels. On guitar nobody sounds like him. You can argue other players are cleaner, or faster, or whatever, than him, but it’s kind of beside the point. He has a very unique voice. And part of that voice is a quiver - he uses a vibrato pedal a lot and he rides his Jazzmaster’s whammy bar a lot. He applies that to lap steel. He likes the sound to have a lot of pitch variation and he uses the steel bar to that end. On pedal steel three are lots of rock guitarists who dabble - Jimmy Page, Ronnie Wood, David Gilmour - and they all get something useful out of it without being a Nashville pro. Then there’s Jerry Garcia, who similar to what he does on guitar, just sounds like himself on the pedal steel. Nels is the same on the lap steel. He doesn’t sound like a Nashville pro, but he doesn’t sound like a run of the mill guitarist on steel either. He just sounds like Nels.
