Album: Being There
Artist: Wilco
Born: Chicago, Illinois
Released: October 1996
Genre: Alt Country
Inspired by the country rock of Gram Parsons, Steve Earle and others, alt country took off as a genre in the 90s, with Uncle Tupelo as the pioneers of this new sound. When Uncle Tupelo fractured, mainly the result of an argument between Jeff Tweedy and singer Jay Farrar, Tweedy went off with the other group members and Wilco was born. This break-up is documented on album opener Misunderstood, with Tweedy detailing some of the insults Farrar threw at him ("I know you're just a mama's boy / you're positively unemployed"). The song also shows Wilco's intent to experiment beyond the standard country rock template, injecting some fuzzy guitar feedback into a country ballad. Tweedy's distinctive singing voice may be a little soporific for some, but I'm a big fan. Being There is really the coming-of-age album for Tweedy and Wilco, not just in terms of its production (walls of noise and modern studio effects) but also its lyrical concerns, with Tweedy writing about being a man in his 30s with a family to support and a mortgage to pay, who is still nostalgic for his punk rocker days. By expanding their horizons beyond country rock, Wilco were able to reach out to a much wider audience.
After the more experimental opener Misunderstood, Far, Far Away is a return to the Uncle Tupelo sound, but no less enjoyable for that. Raucous rocker Monday marks a sudden change of pace and sounds like Exile On Main St-era Rolling Stones, while also referencing Creedence Clearwater Revival. Single Outtasite (Outta Mind) is similarly upbeat and remains Wilco's biggest US hit to date. The decision to release a double album may not have been viewed kindly by the label, but Tweedy was so committed to creating his double LP masterpiece that he took a financial hit to ensure it happened. Both sides of the record could almost stand alone, the first is perhaps a little stronger, but both manage to showcase the wide range of musical styles that Wilco excelled at. The playing throughout is sublime, with multi-instrumentalist Max Johnston providing the strings, accompanied by the tight rhythm section of John Stirratt and drummer Ken Coomer. Highlights on the record include Hotel Arizona, Sunken Treasure, The Lonely 1 and Kingpin, the latter seeing Wilco channel the spirit of The Band during their funkier moments. For anyone interested in Americana, Being There is completely essential (and the album title is a reference to one of the late cinematic masterpieces of comedy genius, Peter Sellers). I'd also recommend Wilco's collaborations with Billy Bragg on the Mermaid Avenue series of albums, where the two parties work together brilliantly to summon up the abiding spirit of Woody Guthrie.
Inspired by the country rock of Gram Parsons, Steve Earle and others, alt country took off as a genre in the 90s, with Uncle Tupelo as the pioneers of this new sound. When Uncle Tupelo fractured, mainly the result of an argument between Jeff Tweedy and singer Jay Farrar, Tweedy went off with the other group members and Wilco was born. This break-up is documented on album opener Misunderstood, with Tweedy detailing some of the insults Farrar threw at him ("I know you're just a mama's boy / you're positively unemployed"). The song also shows Wilco's intent to experiment beyond the standard country rock template, injecting some fuzzy guitar feedback into a country ballad. Tweedy's distinctive singing voice may be a little soporific for some, but I'm a big fan. Being There is really the coming-of-age album for Tweedy and Wilco, not just in terms of its production (walls of noise and modern studio effects) but also its lyrical concerns, with Tweedy writing about being a man in his 30s with a family to support and a mortgage to pay, who is still nostalgic for his punk rocker days. By expanding their horizons beyond country rock, Wilco were able to reach out to a much wider audience.
After the more experimental opener Misunderstood, Far, Far Away is a return to the Uncle Tupelo sound, but no less enjoyable for that. Raucous rocker Monday marks a sudden change of pace and sounds like Exile On Main St-era Rolling Stones, while also referencing Creedence Clearwater Revival. Single Outtasite (Outta Mind) is similarly upbeat and remains Wilco's biggest US hit to date. The decision to release a double album may not have been viewed kindly by the label, but Tweedy was so committed to creating his double LP masterpiece that he took a financial hit to ensure it happened. Both sides of the record could almost stand alone, the first is perhaps a little stronger, but both manage to showcase the wide range of musical styles that Wilco excelled at. The playing throughout is sublime, with multi-instrumentalist Max Johnston providing the strings, accompanied by the tight rhythm section of John Stirratt and drummer Ken Coomer. Highlights on the record include Hotel Arizona, Sunken Treasure, The Lonely 1 and Kingpin, the latter seeing Wilco channel the spirit of The Band during their funkier moments. For anyone interested in Americana, Being There is completely essential (and the album title is a reference to one of the late cinematic masterpieces of comedy genius, Peter Sellers). I'd also recommend Wilco's collaborations with Billy Bragg on the Mermaid Avenue series of albums, where the two parties work together brilliantly to summon up the abiding spirit of Woody Guthrie.
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