Welcome Back Wilco

Wilco has been one of my favorite bands since the first time I heard Summerteeth in 1999. From there I had the joy of working backwards through their catalog as well as following them forward through landmark album after landmark album (including both Mermaid Avenue volumes). Tweedy and company couldn’t seem to miss. Even their foray into bright, poppy, 70’s classic-rock-soaked material, 2007’s Sky Blue Sky, was given my stamp of approval, though I must admit that I was a little concerned about the direction they were headed. My fears were heightened with the release of their follow up with the oh-so-cheeky title, Wilco (The Album). This one was lacking inspiration, dull and, for me at least, generally unlistenable. The album was bad enough that I began to question whether they’d ever be able to right the ship.

For a little more historical perspective, I need to say that what I loved about Wilco’s sound prior to W(TA) was that they crafted beautiful and memorable songs that always broke new ground, experimented with new sounds and song structures and was ever changing and pushing the envelope. Many blame the change of direction on Tweedy’s rebirth from prescription drug abusing rock star to sobered up family man. The lack of angst, some hypothesized, led to his creating breezy and forgettable material. I really did begin to wonder if they would regain that spark. I was glad to learn that they had with The Whole Love.

When I reflect on this album, I have to reluctantly consider using the word “Beatlesesque”. I hate to use it because I hate words that sound made up, like Pickwickian or athleticism. Nevertheless, the greatest band of all time undoubtedly influenced this album. Then, I began to reflect on Wilco’s career in general and couldn’t help but draw comparisons between theirs and the Beatles. Both were responsible for helping to launch a brand new genre of music (rock and roll for the Beatles, alt-country for Wilco). Both were prolific and consistently good, playing amazing live sets. Most importantly, both continued to challenge themselves to go further. At first I was tempted to say they both reinvented themselves, but on second thought I don’t think this is an accurate description. When I think of a band reinventing itself, I think if Radiohead (with success) or Metallica (with miserable failure). No, I think a better way to put it is that both Wilco and the Beatles continued to evolve. The nuts and bolts of their sound doesn’t change over the years, while the production, instrumentation, song structure, and collective individual influences each member brings to the table allow them to remain incredibly relevant and fresh.

To fit this album within the Beatles analogy, The Whole Love is Wilco’s Abbey Road (or maybe its Let It Be). The beautiful harmonies and piano on Sunloathe remind me of Abbey Road’s Because. Capitol City not only serves as the sequel to SBS’s Hate It Here, but its organ and guitar lines would fit snugly right next to Let It Be’s I’ve Got a Feeling. Other big highlights include the electronic influenced opener Art of Almost with its killer guitar solo, Born Alone with its dizzying Shepard tone finish and the lovely and introspective closing track, One Sunday Morning. I’m so glad Wilco is back and so excited to see them again when they return to Portland next month.

The album that earned the sixth spot on my list is one of two hard working bands that also made last year’s list. They blew me away with their previous album, but with solid production and big guitars, their 2011 album takes them to a higher level.