I think the person who maintains this archive popped up earlier in the thread, but I don't recall a link being posted. These are mostly audience recordings, but includes a fair amount of soundboards and broadcasts. Wilco - Google Drive
I’ve never gone too deep. I know all of the whole sets on YouTube and I have a radio broadcast or two from every tour. Never really heard a bad set! That said, a decent starting point is always Solid Sound or the Chicago residencies. Solid Sound usually features something weird on Friday night (all acoustic, all covers, karaoke) and a crowd pleaser on Saturday night. The five night Chicago runs in December go deep into the back catalogue. Also, it’s generally worth checking out the early sets after each album is released as they’ll be playing at least 70% of the new album, some of which never really gets revisited. Toward the end of long tours or before an album comes up they tend to do greatest hits sets. Really, though, none of it’s bad!
White Wooden Cross This song hit me so hard last year when I first heard it. When I was a child, I had almost a pathological fear of car accidents. I was absolutely terrified that someone I loved would die in a car accident. I used to make sure that I told my parents I loved them almost every time they left my sight, just in case. While I got over the parts of this fear that were unhealthy (it was all-consuming), I do still even as an adult fear car accidents. It's not an unfounded fear. They happen and they are almost emblematic of the random chaos of the universe. Wonderful, good, loved people die suddenly all the time just from mistakes and errors on the road. Whenever I see white wooden crosses at the side of the road, placed in tribute of accident victims, I always say a little prayer for them. And I see them quite often, living in a somewhat rural area in the South. It was almost strange to hear 'White Wooden Cross' and know that Jeff had been having some of the same thoughts as me. He saw those white wooden crosses and he thought about the random chaos of the universe and how an accident could claim someone he loved out of nowhere. And what would he do? In the final verse, he seems to reflect on the fact that his own existence and circle of loved ones is so small and we all have people we care about and fear losing. It's a part of life. For all the people that I am not And all their prayers and all their thoughts There's so much more out there Than here where I stand I blow my horn for the whole band He toots his car horn in tribute to the fallen and for the loved ones of everyone he knows. Lyrically, this is one of my favorite Jeff Tweedy songs because I relate to it so strongly. It was a case of a songwriter I love putting into words things that I have thought for years. Musically, it is just so gorgeous and one of the prettiest songs in the Wilco canon. That piano is gentle, wistful, thoughtful. This is some of my favorite playing from Mike in years. It reminds me of how they used keys on Sky Blue Sky. There's a beautiful guitar solo too. Nels is really playing from the heart, or it sound that way to me. 'White Wooden Cross' is an amazing song and it means a lot to me.
Wonderful performance of the song from the Songkick set: I'd like one of those 'Wilco Will Love You Baby' banners for my house, in a slightly smaller version. As a sidenote, my copy of Jeff's book How to Write One Song came yesterday and I read it last night. I don't actually have any plans to write a song or be a songwriter, but it was still a nice read as I do relate to many of the thoughts he had just about general creativity (I'm a writer, though not a songwriter) and it was interesting to get some insights into how he has written songs for the past few years. I for one love how much he cares about the words of his songs and treats them as just as essential as the music. I remember seeing a Foo Fighters clip a few years ago where Dave Grohl was basically forced to come up with some lyrics at the last minute because every other part of the song was done and he just wrote them out in about ten minutes, not really caring what they were. Not to be mean, but there's a reason I'm not very interested in Dave's music (more than one reason, actually). The contrast to a writer like Jeff is amazing.
And some people say these guys have lost it ??!!?? Who cares if it was first just a Jeff demo, or a Jeff/Glenn workout with the others overdubbing. To me, it sounds like a band go-through or rehearsal. I don’t mean that in a dismissive way, quite the opposite, I adore it not in spite but because of this raw tossed-off quality. The arrangement is very accomplished, but the playing (and mix) keeps it rough, it’s not slick and “produced” like the Whole Love could be, it feels like they’re actually playing to and off each other, their individual “parts” neither refined nor technical, but very spontaneous, genuine, inspired. In that sense, it has that earthy band/Band quality of some early takes from Big Pink or the 1969 brown album, actual musicians feeling the song and giving it life. The piano is a case in point, sounding a bit like Neil Young on keys (think the opening of My Heart, one of my very favorite Neil songs). The slide bridge brings back the George H. that lives inside Nels C., which is always an endearing touch. But all of this wouldn’t mean much if the song, riff, melody, words, were not so beautiful, original and perfectly crafted, sounding like no other than Wilco. Some of us agreed that Ode to Joy is the closest Wilco ever came to a sequel to A Ghost Is Born. It’s apparent in the “difficult” three songs opening, the telluric experiment of Quiet Amplifier, but also in this superb tune, that I like to describe as Company in My Back’s little understated sister, graced with incredibly moving, direct and heartfelt words. This is a fantastic reminder that Tweedy is by far the best melody writer around today (with the genius that is Sam Phillips). Just listened to White Wooden Cross this morning, and it’s been stuck in my head ever since, in a very agreeable way, I must say. And in France, morning was already almost 7 hours ago…
I used to appreciate informal monuments like crosses or flowers on the road, or graffiti murals here in the city, but that was long before I recognized I was moving a lot closer to death and knowing more than a few people, closely, who died. We have graveyards, and I don't need reminders in every-day life! It wasn't lost on me that these sort of public displays usually signaled the violent death of a very young person. The one that stuck out for me was a former childhood friend, who broke very bad in his early teens, joined an infamous state-wide biker gang, became known as a crystal meth dealer (and user), and died when his Harley inexplicably swerved off the road going uphill on a clear night, i.e., it was no accident. Every time I drove by his roadside collection of votive candles and plastic-flower wreaths, it reminded me of what an a-hole he turned into. Even today when I drive by that spot, I'm reminded, and that was roughly 20 years ago! Most of us are going to die far less dramatically at home and in hospital beds, preferably when we're very old. One thing I know, death is death, whether it's a 10-year-old kid on a bike hit by a car, or your elderly mother going at a moment's notice from a massive heart attack. They both suck. And you're going to have more death than you can handle past a certain age. That said, this is a good song! Straightforward, unadorned in a good way and gets right to the point. Reminds me of this Springsteen track: Wreck on the Highway - YouTube
White Wooden Cross: I was listening to the album yesterday, beginning from the good part (aka Everyone Hides), and kept thinking, “yeah, here’s anther good song, a playlister” until I looked at my phone and was reminded how Apple Music minimizes the album into a personalized favorites. I had forgotten to press “see complete album”! But back to White Wooden Cross. I like this song despite the unsettling lyrics. What would I do? I really don’t know. On the one hand, I don’t like seeing those type of roadside memorials. When I lived in the country friends of ours had three crosses almost directly in front of their driveway. I wouldn’t have wanted to have that sort of tragedy staring me in the face every time I walked out the front door. But...what would I do? I don’t know. Musically, the song is right down my alley and I’m glad we’re in the meat and potatoes part of the album, with the band making its imprint.
"White Wooden Cross"- This is a frustrating song for me. It's such a great song with magnificent lyrics, melody, and music, but what is with Jeff's vocal take on this song? His mumbling has hit peak annoyance. It sounds as if he had a stroke while recording it, especially at the beginning of the song. I know he can do better. The live clip above has a much better vocal! There are a few songs in the Wilco discography where I wish he would have re-done the vocal and this tops the list. I still love this song. The music and melody are some of the best on the album. Another really cool bass line, lovely piano parts, and Nels adding some colorful touches. This would easily be a 5/5 for the music, lyrics and melody, but I have to drop it a point because of the over the top mumble. Nobody mentioned it yet, so maybe it doesn't bother most of you. Anyone have any thoughts on this vocal take? 4/5
White Wooden Cross was played frequently on the Together At Last tour along with Bombs Above, Let’s Go Rain, and Family Ghost. I was surprised when it didn’t turn up on Warm(er). When I finally heard it on Ode, I was disappointed. Good lyric. Interesting arrangement. But I think the whiny vocal - exaggerated by so many “w” words - irritates me a bit. On a more positive note, this thread made me realize I don’t actually own a copy of OTJ so I finally ordered the CD yesterday. Also, my local has a copy of the Warm/Warmer vinyl set repress on order for me, which, ironically I just bought Warm a few weeks ago! Oh well... I’ll likely unload that and Warmer to fund the box (Warmer still seems to be fetching good money).
We were writing the same thing at the same time! “What would... what would...white wooden...” just becomes “wah, wah, wah” to my ears which was never a great George Harrison song imo!
Catching up from yesterday, I think Everyone Hides is a minor classic. It’s a bit of an earworm, and even the title rings true. It brings some energy to the album. One of those little roadside memorials triggers the thoughts of loss that make up White Wooden Cross. Haven’t we all had the thoughts expressed in this song when driving by them? Or even worse, seeing the immediate results of a serious accident? I think it’s an intriguing song and the music matches the lyrical musings quite well.
When I lived in Minnesota, someone was murdered at a party, a block away from my house, just before Halloween. So, for Trick-or-Treat and through the winter that year, there was a memorial shrine for the victim by the sidewalk--which was an unsettling reminder to walk or drive past, so close to home, but it must have been really hard for those who saw it every day just outside their front door. Anyway, since then, when I see a roadside memorial, I have conflicted feelings. I'm not surprised to learn that "White Wooden Cross" came from the Warm/Warmer batch of songs, possibly one of the earliest from the period if Jeff was singing it on his Together at Last tour. This meditation on the death of loved ones is squarely within Warmest territory. The band arrangement does add a lot to this one, though. The repeated, shimmering piano figure is a nice hook, and I really like Nels' slide part. Jeff's vocal is an odd combination of subdued and strained; it doesn't put me off too much, but I agree that he could do better. Still, one of the album highlights for sure.
I have similar thoughts to many of you. Driving by and seeing a roadside cross or memorial can suddenly jar you into thinking about your own or a loved one's mortality, which the lyrics perfectly capture. It's not my favorite vocal take, but it doesn't ruin the song for me at all. I love the slide guitar solo, the flamenco-ish acoustic guitar underneath the slide guitar solo, and the piano flourishes under the final "tell me no lies" section are lovely. This song has a little bit of a 60's doo-wop feel with the piano notes at the end of each line and the sixteenth note(?) strum at the end of the first verse.
I really don't know about this voice thing. It's clearly an artistic choice (many live examples of him singing very differently, in all the classic "Tweedy voices" we know and love). I understand many people have a problem with it. It started as soon as in the beginning of At Least That's What You Said, then Jeff experienced with his high pitched "soul" voice on Sky Blue Sky, then gradually descended the hush-singing route. I don't mind it, it gives the songs a sense of control and restraint that I enjoy, as I've enjoyed the idea of studio Wilco and live Wilco being two very different experiences in recent years. I mean, it's true he's changed his singing style a lot, but it's supposed to suit the music he's making, the sentiments he's willing to express, his writing. I've always been impressed by Springsteen talking about his "voices". He said something like "at some point, I found a 'folk voice'", meaning that it was the voice in which he was expressing himself the best at a certain point in his career. You know, this battered, low, almost atonal voice he started to work with on the Tunnel of Love ballads. Then, from Streets of Philadelphia on, he almost couldn't find his "rock voice" again, at least not before Magic… Of course the word "voice" has two meanings: the singing and the art itself. I'm a very faithful music lover, very rarely have I stopped listening to the artists I love, and for the most part, I've enjoyed their "voices" to evolve, to change, to age, to slowly disappear, sometimes. There's a wonderful story of voices in rock still to be written. Solo Lennon losing confidence in his voice and drowning it in echo, Nilsson ruining his multi octaves superpower in Brandy, Joni lowering hers by chain-smoking, Dylan inventing country Bob, Jesus Bob, crooner Bob… Tom Waits destroying his vocal cords and inventing a completely different singing style to match it, Costello developing his vibrato and being unable to let go of it, Brian Wilson losing his falsetto in his bedroom then finding it again, the list could go on and on. I mean, Barry Gibb, Elton, Bowie, Cash… Leonard Cohen! I'm participating in the McCartney III thread, and as usual the "voice" is a BIG subject. It's fascinating how we want our favorite artists to sound a certain way. In short (well… sorry, I know ), I think Jeff sounds just fine on this song and most of his recent output. He's musing, he's not asserting anything, I think he want's us to come to him, rather than imposing himself on us. It reminds me of the great Neal Casal talking about his years playing solo in bars : « I learned to play and sing softly. If you sing and play loud, people will speak louder to hear themselves talking. If you tone it down, there's a chance they'll lower their voices to pay attention to what you're singing… » Here's a very pretty solo version. The vocal approach is quite similar to the band take.
I didn't make any conscious note of Jeff's voice on this song (or the album in total) until you all began discussing it. I like it just fine. It just sounds like Jeff to me. Very kind. There are a few tracks in this thread that are a bit too mumbly for me, but nothing on this album is.
Interesting. It’s not the style of the vocal I am talking about. I just think it’s an odd vocal take. The other versions posted here are better. On the album he is really marble mouthed like he just had a shot of Novocain. I’m mostly referring to the first 40 seconds or so. After that it improves into what is a pretty common Tweedy vocal style. The first time he sings “What would I do, what would I do, if the white wooden cross meant that I lost you.” is the part that bothers me. I usually have no problem with most of his vocals. His live vocal on this song is always stronger than the album version, in my opinion. It's not a drastically different style or approach, but he can sing it better than the take they used on the album. A few of the artists that @Fortuleo mentioned just can't sing very good anymore, and some changed their style to go along with their aging voice. Some are very successful with it, and some should put out instrumental records. I am still a fan of Jeff's vocals these days.
That's my cue! Well, I pontificated enough about my disappointment with the choices he's made re: how he's choosing to record his lead vocals. I don't think there's anything wrong with his voice - he's just made a choice that I don't agree with, and it's up to me how I want to handle it. Not just that, his image, too, physically and artistically. At times, I feel like I'm humoring him and nursing along a guy roughly my age who sometimes seems fragile. Other times, I know he's got wind in his sails and needs no help from anyone. I feel like we're watching him slowly morph into a cross between Leon Redbone and Badly Drawn Boy. Just curious to see what his concept of an upbeat album is these days with the next release!
A couple of days behind... "Everybody Hides" is a great song. Very catchy. As others have said, definitely an earworm. I like the video a lot as well. I was in Chicago with my wife right after I first saw it and had some time to myself - I thought about stalking out The Loft - did not - I still want to make it there some day - but I am pretty sure I sought out the right record store from the video. Actually, I think the one I visited was the one that inspired the "Americanized" High Fidelity movie. So it might have been a different one now that I think about it. "White Wooden Cross" as many of you have commented is a pretty profound song. I used to do a good bit of car travel for work, mostly just in SC/NC/Georgia (I am a "Zoom Lawyer" these days) - but these are plentiful and I would not say I am "drawn" to them, but they certainly get my attention whenever I pass one on the highway. When my wife and I saw Wilco together last fall, she had not really spent much time in the record and when she heard the song she was pretty blown away that the song actually was about the roadside memorials we so often see. I got the reissued Summerteeth for my birthday a few weeks ago and finally broke it out in the car this weekend, running Holiday errands. It certainly is a "jolt" to listen to after listening to a lot of latter day Wilco/Tweedy the past month or so with this thread. Not a "good thing" or "bad thing" but the evolution of sound seems staggering when you suddenly go back in time like that.
I finally received my colored vinyl copy of the box set yesterday. It's beautifully packaged and the vinyl was flawless. Made for a good evening. I still have to listen to the live set, but it was interesting listening to the demos and alternate takes. It is quite different after going through all the Warm and Warmer material.
"White Wooden Cross" is a good song that I think could have benefitted from a better Tweedy vocal. I like the lyrics, even though I'm more of the view that those roadside memorials, as meaningful as they are to the people who put them there, aren't really appropriate in the public right-of-way. I never remember seeing them when I was a kid. They seemed to suddenly emerge sometime in the 1990s. Regardless of all of that, I like this song.
This is what I was referring to as well. The vocal take on the record sounds a bit sleepy. I like the vocals in the two live versions posted better, they sound slightly more engaged.
Citizens Ode to Joy is often an album about living in the modern world and ways that our internal and external worlds can be at odds with one another--or our private worlds versus the wider public sphere. This is very apparent on 'Citizens.' As with 'Family Ghost' from the Warmer project, this is a political song but the words are fairly obscured and poetic. However, just the title word of 'citizens' makes a strong impression. It calls to mind politics, nations, and civic duty all in just that one word. When you pair it with the repeated refrain of "White lies, white lies" and lyrics like "High times, high crimes/ Medals for you to salute," we're definitely listening to a statement from Jeff about America in 2019. The melody is very memorable and that main repeated refrain often swirls around in my head (and has all year long, if you catch my drift). It's another strong song (as I think every song on this album is strong) but not as personally special to me as the more intimate songs on the album. That being said, someone pointed out earlier that Ode to Joy is the only Wilco album to come out during this administration in America, which I hadn't thought of consciously, but I think that's a hugely important part of this album's identity and perspective.
