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Wilco

A Ghost Is Born

RS: 4of 5 Stars Average User Rating: 4.5of 5 Stars

2004

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Hey, what happened to the funny noises? That's bound to be any fan's first reaction to Wilco's latest metamorphosis, yet another sharp turn, in sound and mood, for a band that seems compelled to change with every album. And in its own way, it's as eerie as anything Wilco have recorded yet.

Last time around, Wilco were dropped by Reprise Records because songwriter Jeff Tweedy and mixer Jim O'Rourke baked all sorts of buzzes and creaks into the songs on Yankee Hotel Foxtrot. Wilco put the songs online, and a more sympathetic label, Nonesuch, picked up the album, which debuted at Number Thirteen.

Though O'Rourke returns as co-producer, A Ghost Is Born is no sequel. Where Yankee Hotel Foxtrot sounded dense and surreal, the bulk of Ghost is spare and earthy, with streaks of Crazy Horse, the Band, the Beatles and the Replacements. Where YHF tried to assess America's soul, Ghost looks inward.

For most of the album, Wilco use guitars, bass, drums and keyboards, recorded with distinct realism and often played together live in the studio. Many tunes are slow and desolate, pausing occasionally as if unsure how to go on. While they ruminate, odd things sprout from within: spiraling electric-guitar jams, sustained feedback howls and, in "Less Than You Think," a meditative twelve-minute electronic coda that begins as quietly as an air-conditioner hum and opens out into a forest of sounds. "Spiders" starts out as metronomic one-chord kraut rock, launches Tweedy into spiky, scrabbling electric-guitar leads and, four minutes in, riffs its way into cantankerous rock.

Ghost's lyrics intertwine thoughts about a romance breaking up and a business relationship breaking down. "Company in My Back" could be talking about the record-label follies, but "Wishful Thinking" is more ominous: "The pressure devices/Hell in a nutshell/Is any song worth singing if it doesn't help?"

Yes. Instead of grand solutions, Tweedy offers illuminating curiosity about what can happen in a song. It's not experiment for experiment's sake. There's a sense that every note and sound on Ghost, even the spontaneous ones, have been selected for private but rigorous reasons. A drum tap here, a glimmering hammer dulcimer there, a jab of distorted guitar, an echo suddenly opening new spaces -- on Ghost, they say what words cannot.

JON PARELES

(Posted: Jul 8, 2004)

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Review 1 of 2

ByTheWayistheone writes:

5of 5 Stars


Tweedmeister on the lead axe?...........absolutely amazing..........there you go Jay Bennett.........you were very expendable.....

Jun 11, 2007 15:58:46

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Review 2 of 2

Bluemask writes:

4of 5 Stars


Wilco have always been something of a qunadry. Formed fromt he remements of alt-country giants Uncle Tupelo, they soon embraced Brian Wilson like power pop on releases like Summer Teeth. Then came the collaboration with Cockney troubador Billy Bragg on Mermaid Avenue Volumes 1 and 2. Yankee Hotel Foxtrot was lauded as the next great American rock album (and got them dropped from their label). On A Ghost Is Born, Wilco take their Beatlesque aspirations and throw it in a blender with The Replacements, Crazy Horse, The Band and Radiohead for an album that is often difficult to understand but none the less brillant in its scope and ambition.

Dec 10, 2005 23:25:32

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