I like "arty" Wilco, but I also think "What Light" is one of the best songs on this album, so I don't know what to tell you. Initially, Jeff and Nonesuch must have hoped that this would be a popular song. They even released it as a single (b/w "Let's Not Get Carried Away")--and it hit #7 on the Adult Alternative Songs chart, their best showing since "Can't Stand It." It opened the second set at one of the Seven Worlds Collide concerts in 2009 (we should look at that project on Wednesday, too). They also played it on the Letterman show. But I guess they didn't get the communal good vibes from audiences that Jeff was seeking when he put his song out into the world.
Walken This is a cool little song. I like the bouncy styling, and the upbeat lyrics. I really like the musical arrangement, it just keeps on moving along.
What light I'm a sucker for a 6 beat... It just dances along, and I always find it draws me in. I guess this is a fairly simple track, but I like it..... I may even like it because it is fairly simple. I like the vocal delivery too. Good track
Excellent points. "What Light" isn't quite a dirge, but there is something of a funereal quality to the music. I suppose that Jeff meant to paint a picture of hope and light coming out of darkness, which is beautiful, but audiences at a show are looking for music that has a more upbeat payoff in the chorus. On this album, I think the lack of a primary collaborator and sounding board, who brings different strengths to the partnership and has the clout to say, "No, that doesn't work, but how about this idea," is starting to show. Some of the catchier songs on the record evidently were developed in a jam session (a practice that apparently stopped on the next album), or, in two cases, were written with Nels or Mikael, but that's not quite the same as a dedicated partnership. And on "What Light," Jeff didn't have a songwriting partner at all. Could Jay have told Jeff how to punch up the tune to get an audience singing along? Having that kind of help couldn't have hurt, anyway.
Next to "controversial disco single," "anthem" is one word I just don't associate with Wilco. (All right, I'm on record here that I'm disappointed Wilco never put out a disco single as part of their classic-rock influence package. I guess "Spiders (Kidsmoke)" is as close as they got.) When I first heard "Comment," I thought, "Oh, no, those lyrics ... what is he doing?" Not quite realizing it was a cover version, but researched that soon enough as the song simply didn't sound like Wilco! It's true that Jeff's lyric tend to be more cerebral/internal and not the kind of pieces that inspire legions to wave lighters. I think the key to a song like "What Light" is the key to the album: the simple pleasure of being at peace with yourself after not being so for a long time.
I just had a shocking realization. Krautrock and disco are closer to each other than one might think. It's all about that incessant beat. Now, whether or not anyone was 'getting down' to Neu in the '70s is harder to say... Update: we'll use Wednesday for all associated b-sides and such from the era.
For better or worse, I think this is basically how modern committee-based songwriting works. One or two people have the main idea for a song, but a lot of other pros tinker with all the details to smooth out every rough edge they can find. For one person to write a perfect anthem for the ages - like McCartney with a Hey Jude or Bill Withers with a Lean On Me - is an absolute one in a million. Or a billion! I agree too, that What Light is the key to the album. Where Jeff was once quite confrontational, he is becoming increasingly comfortable with who he is, which gives him license to pursue his muse without having to provoke those who might not follow.
I remember when Pulp came out with their last album, We Love Life. For me, it was a tremendous letdown from Different Class and This Is Hardcore. I later found out that the band was miserable in the Hardcore era, drugged out of their minds and not enjoying the level of success "Common People" brought them. They were in a much better frame of mind come WLL. It seems to be an ongoing rock theme of an artist or band doing their best work when they're having a very bad time, but the music itself sounds incredible. Of course, Pulp broke up shortly thereafter, for reasons I've never fully grasped. (Of course, they reformed later, but more so to play shows than as a creative unit.) It's always been a hard nut to make good art as a reasonably happy person after years of creating it in turmoil, requiring inspiration not found in creative friction or searching for a way out.
What Light is another of my favorites on the record. True, it's simple and it has a positive message. To me the song just ties in beautifully with the overarching ethos of the album. A sense of coming into the light after years of battling darkness.
What Light is solid. Sort of a Dylan cadence, but against a country as opposed to folk setting. Nice pedal steel. Wilco goes in and out of country like my breath goes in and out of my nose. Effortless, unless my allergies kick in. Notice that we go from "what light" to alternating white light/one light. We are contemplating the ultimate here, folks. And the next track, well it's really ______________________.
This is a theme Jeff discusses on the Sky Blue Sky DVD. In particular he was worried that he would lose his creativity when he got sober. He was relieved to find this wasn’t so. I’ll discuss it when we get to later material, but it seems to me that Jeff wouldn’t feel like he hit what he was going for until around Sukierae and beyond. Ghost remains my favourite Wilco record, but I think they’re still creating vital material to this day. Some artists do seem to only thrive in crisis, but I seem to gravitate to ones that build a more stable longevity.
"Leave Me (Like You Found Me)": I could take it or leave it (like I found it). As a deep album cut that's only been played once, it's perfectly fine. I'd love to hear it at a show sometime. But I also don't really miss it. "Walken": I've seen this one at 6/8 shows since its debut, and I always liked it as a big, brash, goofy thing. Wilco does this vibe very well. Kind of their answer to "Hoodoo Voodoo." I don't like Jeff's upper register much, except as here, where he's goofing off. This one is classic for introducing that guitar, too--what is that Gibson with the double horns called, gear heads? If you see the tech trotting that out, you know "Walken" is next. At one of the shows I saw, Jeff said Susie found it and bought it for him. My understanding--can't recall if Jeff said this at the time or not--is that these are very expensive. "What Light": Never cared for it at all. At worst, it actively annoys me. I've grown quite a lot since this one came out, but not into this. "Don't let anyone change your bag." Cringe. I was actually surprised to see this one hasn't been played much at all. I've never seen the band do it. I've seen Jeff do it solo once, and that was plenty.
Jeff has many Gibson SG’s, including a signature model that replicates his Blue 1961 model. The SG was originally a modern update to the classic Les Paul, so the early versions (including the 1961s) bear Les’ name. Within a couple of years, the classic Les Paul design was brought back to production and the Les Paul SG became just the SG. Coincidentally, I watched an interview with Les Paul this evening and he said the classic design was pulled while he was going through his divorce with Mary Ford, and he let Gibson produce a different model during that time so that his iconic design wouldn’t get tied up in the settlement. When the divorce was settled, the original design came back and Les Paul got his name off of the SG model which he didn’t like (although he says it stayed on the three pickup version). I don’t know enough Gibson history to know if that’s true or not. here’s an overview of Jeff’s signature SG:
"Walken" Cool track. It seems a bit of an outlier in the context of the rest of the album, but on its own it has a certain charm. I like the basic riff that runs through this, and there's a kind of quirky energy which drives it along. For me, it's an enjoyable little romp. "What Light" Is Jeff channeling Bob Dylan here? I can't help but get the impression that this song evokes that particular sentiment. Regardless, I do really like this song; there is an elegant simplicity to it, not unlike Mr. Zimmerman's own stylistic approach at a certain notable point in his career.
Today we come to the final song on Sky Blue Sky proper. On and On and On Jeff Tweedy: vocals John Stirratt: bass Glenn Kotche: drums, percussion Mikael Jorgensen: Hammond A100 organ Nels Cline: electric twelve-string Pat Sansone: piano Karen Waltuch: viola, violin I don't understand the beginning of the Wilcopedia entry for this song. It describes this song as "one of the lightest songs" on "arguably Wilco's lightest album." That's not what I hear at all. This is a plaintive, emotional song about grief. Throwing this in the same bucket as a song like 'Walken' seems like a complete misreading to me. Jeff had this to say about 'On and On and On': "The song on Sky Blue Sky that I think means the most to me is a song that never really gets that much attention and it's 'On and On and On.' I wrote it for my dad because my mom died during the making of that record. It was my attempt to write something that was comforting to my dad about losing my mom. Some people really respond to that song, but for a lot of people, it really seems to be really divisive for some reason." I'm interested to see what sides the group falls on regarding this song and that quote from Jeff. I am firmly on the side of being one who responds to 'On and On and On' and loves it. I think this is one of their best and most moving album closers. The fact that Jeff's father requested that his grave marker read 'On and On and On' when he died makes this even more poignant for me. I personally read the song as an affirmation of some kind of afterlife (On and on and on we'll stay together) and a song of tremendous comfort. Jeff has talked about the loss of his parents quite a bit and how he felt orphaned after his father died, despite being in his 50s. The loss of parents is a very adult kind of grief. Jeff trying to process those losses became a big part of his art when each of his parents died. The sections about his father's death in his book were incredibly impactful to me. As a song, I just think it's beautiful. I love the chords and the arrangement. I love how it builds and what Karen Waltuch contributes. I love Jeff's vulnerable vocal (and he doesn't even play an instrument on this track). I think it is heartfelt and moving. I've (thank God) not yet lost either of my parents but I've lost grandparents and this one rings very true for me. Overall album thoughts This is an album I've grown into as I have grown up. I've listened to it many times over the past few weeks as we have explored it in depth and I don't think I've ever loved it more than I do right now. I think this is a beautiful and mature record that attempts to process the pains and perils of being an adult and making your life function in the face of adversity. For Jeff Tweedy, that meant getting clean and sober and trying to put his life back together, but I think anyone can respond to these lyrics as they have a universal understanding of the quiet struggles every adult deals with each day. I have been very interested to read the commentary here and how almost every song on this album has divided opinion. It's such a simple album, really, but that seems to be what puts people on opposite corners. After the complexities and confusions of the albums made during the 'drug period' of Wilco, Sky Blue Sky is an album of clarity. The title itself reflects this. I love the healthy qualities of this album and the determination to be a better person. I love the warmth and classic feelings in the arrangements and the way it incorporates '70s singer-songwriter and soul sounds. I think the new lineup gels together beautifully on here and the arrangements are lovely. It's very well-recorded as well, with each instrument clear and clean in the mix. This album feels good for my heart and good for my soul and I respect it tremendously. At this point, I may even think this is my favorite Wilco album! It has an honesty and a quest for being better that I really respond to. I don't have much time in my life anymore for music that is really dark, really sad or really angry. I like music that takes care of me. This does that. I love it. Song ranking: 1. Either Way (A+) 2. Impossible Germany (A+) 3. Please Be Patient with Me (A+) 4. Sky Blue Sky (A+) 5. On and On and On (A) 6. You Are My Face (A) 7. Leave Me (Like You Found Me) (A) 8. Side with the Seeds (A) 9. What Light (A-) 10. Hate It Here (A-) 11. Walken (B+) 12. Shake It Off (B) Please use today to discuss the final track and the album as a whole. Tomorrow we will cover The Thanks I Get, Let's Not Get Carried Away, One True Vine and any other assorted bits before moving on to Wilco (The Album). Thanks everyone!
On and On and On: One problem with this single song analysis is that I find myself nitpicking, dissecting the song instead of just enjoying it as I do if it’s just part of the album flow. With that introduction (!), I like the intensity of the vocals and the lyric. It draws me in. And I love the warmth of the Hammond organ. As for the nitpick, I’m not keen on the guitar one coming in just after the 2:30 mark.
General Sky Blue Sky thoughts: I’m pretty happy with Sky Blue Sky. Satisfied, though not particularly excited by it. I’ve put four songs on my playlist (the list committee overruled late attempt to add one more. Made determination that there was undue thread participant peer pressure at play. ). Playlist additions: You Are My Face Sky Blue Sky Leave Me (Like You Found Me) Walken I may have been okay with the album upon release but it still must have not impressed me enough to be interested in the new Wilco’s next album because Sky Blue Sky is the last album that I purchased.
I’ve never cared too much for this song and I feel bad about it, 'cause I can see it’s a very important one for Tweedy. Sky Blue Sky starts at a crossroad, it could go “either way” and in this case, it’s clear that for Jeff the destination matters just as much as the journey. Indeed, On & On & On is supposed to be the culmination of a record that I love, and it falls flat for me. No luck, I guess… Why do I fail to connect? I’m not sure. I like the lyrics, I like what he’s trying to say, and I like the idea of putting these very deliberate touching words to a bed of uncertain, shaky chords, which shows how even certainties and resoluteness will remain fragile and jeopardized, up to the end… But this is intellectual rationalization on my part. In truth, I just don’t feel the music, it doesn’t move me. Maybe it’s the annoying “yeah’s” or maybe he just sings a bit too high ? Thanks to this thread, I've understood that he was listening to some Supertramp at the time (and I’m a big Supertramp fan since my teenage years !), but if he’s trying to impersonate Roger Hodgson, it doesn’t work for me at all. More seriously, I do love the sentiment of the song, its placing at the end of the record, and how it projects itself into the future of a relationship. Since day one, it’s made me think of the ending of the Coen Bros movie Raising Arizona, and I’ve always hoped I could share this parallel with fellow fans, someday. That day has finally arrived ! Raising Arizona Ending ~ (Spoiler) on Vimeo : movies
To me, Sky Blue Sky felt like a post-rehab, new lineup band trying desperately to find itself anew. To Tweedy's credit, he kind of relaxed into that search instead of trying too hard (a good move I think), but ultimately the results then are not a huge misfire, but not very memorable, either. Sky Blue Sky....skies the limit, seeking, blue sky thinking, we can become anything, hoping for hope. That's what the record and the title mean to me. I recall listening to this many times the week it came out trying to like it more, and not much after. It was a big let down for me after Yankee and Ghost...I don't think I've played Sky Blue Sky in 10 years. Then came Wilco (The Album), their search for who they are leads them to a self-titled album, a bold "Wilco is whatever we say it is" statement led off by a jokey but warm-hearted "Wilco will love you, baby" that sounded like Ringo Starr should have been singing. And it's all to very mixed results. Big highs (Bull Black Nova, One Wing, You and I) and low lows on that eclectic record. The back cover says it all. We are gathered for a party, we've gone through the motions, but no one seems to be having very much fun. Finally, with The Whole Love, Wilco feels energized again and despite some deadweight (I'd have trimmed it by dropping Capital City and Rising Red Lung) they make a record that takes a few more chances, blends the skills of all the new players into a great rock record that feels a bit like Summerteeth and A Ghost is Born had a baby. After The Whole Love it was back to the unsatisfied search for something new, an intentionally minor entry in their catalog, a toss off "indie rock" record Star Wars to shake things up...Ditto for Schmilco, which sees Wilco not trying very hard, Jeff taking more reins over pre-production and production, playing at being Jerry Garcia with just a couple of keepers in the batch. Ode To Joy has some highlights, and to me, for chill Wilco (Chilco if you will), Ode to Joy is an improved-upon and more interesting Sky Blue Sky. Where this leaves Wilco in a new decade, going forward I don't know. Perhaps a return to highly experimental music or more hard hitting rock? We shall see, but I think the mellow, acoustic-based, folk country-infused vibe has been mined to death (in Wilco and Jeff so stuff), and I would hope they get a new producer on board, record somewhere besides The Loft, to push Jeff & Co into different territory. I'd love Wilco to work with Dave Fridmann (Flaming Lips, Spoon, Neil Finn, The National) or Justin Vernon (Bon Iver) perhaps. Someone to shake things up!
Sky Blue Sky (album recap) This is a very well done collection of songs in a number of different styles. A “mature” album, if you will. Certainly not the dreaded “dad-rock”. The album’s low-key approach leaves room for the listener to come in and get comfortable with the songs. I hadn’t paid any attention to this one when it was released but this is a worthy effort and showcases the band that Tweedy had put together over the preceding couple of years. I don’t know (at all) what to expect from the albums that follow, but I reckon that YHF, AGIB and now SBS are a very fine trio of albums that any artist should be proud of. We still have a few Bsides & non-album tracks to talk about, and what’s interesting to me is how they seem more like blatant genre exercises in a way that the album doesn’t. Details tomorrow.
