Wilco

A Ghost Is Born

this recent rash of kidsmoke

Review Score:

(10/10)
I'm resubmitting this after reading several subjective and minimally supported negative reviews:

"a ghost is born" is the gem of the Wilco catalog. The record sounds like a John Lennon/Neil Young duet album with lead guitar by Robert Fripp, arrangements by "Ziggy"-era Bowie, and production by Ric Ocasek or Todd Rundgren. I am so ashamed of my pre-listening skepticism (after reading some backpacker on viachicago.org saying he wasn't feeling it and that the songs were weak). Later for that! This jam "Kidsmoke" is like Gary Numan's "Cars" meets Neil Young's "Down By the River" meets Velvet Underground's "European Son." It's the first time that an album's epic (in this case, ten-minute) song was my favorite. I haven't rocked a Wilco song so reverently since "Shot in the Arm."

What planet is this guy Tweedy on? Listen to those guitar solos!!!!!! Astonishing. And, next question: Who lent Tweedy their Neil Young record collection???? (Not that I mind AT ALL.) Tweedy takes many Neil-ish routes with those blisteringly loud guitar solos. Despite attempts to make the playing sound off-handed, Tweedy's exactness blows me away. On "Kidsmoke" he alternates between crunchy, in-your-face, almost Coltrane-esque solos AND more atmospheric, hunt-and-peck work almost like Garcia in slow motion. Tweedy uses these processes to alter his guitar tone--there are several very early 80s kind of solos VERY MUCH LIKE "Fashion" by Bowie (solo on that one was by Robert Fripp--probably the person most widely credited with pioneering that loud, exact, distorted but trebled-out crunchy/crispy sound). I can feel that O'Rourke had some serious input here--his textures and nearly comprehensive rock knowledge is all over this record and the album is much better for it.

Now the lyrics--there's too many good ones to quote, but I have to say that one thing I absolutely love about these lyrics is that it's only a matter of time before they mention something concrete and inorganic. Almost every song refers to a mechanical device--like a telephone, an answering machine, a television, etc.. It's almost like Tweedy makes his self-deprecating heart-on-his-sleeve admissions then obscures the connotation with references to malfunctioning communicative devices.

The piano work is astonishing. I was bracing myself when I put the album in my player. I thought for sure the departure of Jay Bennett would destroy that ornate just-so piano sound. Yeah, I was afraid until I heard the intro to "Hell is Chrome" and thought, "Christ! Did they resurrect 'Plastic Ono'-era Lennon to play on this cut????" Probably second to Neil Young, there's also a heavy Lennon influence on this record. The lyrical delivery and word choices (here comes probably the greatest compliment in this ever-growing review) are quite Lennon-esque. Note the short lines, the brutal honesty, followed by lines that are less direct and open to wide interpretation.

Big shout to John Stirratt for this record too. I bet you everybody wishes he was in THEIR band!! This guy's multi-instrumental work on this album is PERFECT. He has guitar work all over this record. He plays piano on on certain cuts. He plays the bass like a madman. Then he has a singing voice that's to die for--his harmony singing is remarkable. It was almost like: Tweedy came in with the song and everybody worked out something except for Stirratt. Then O'Rourke got the levels right, gets his little atmospheric touches in there. Then they said, "Okay, what else do we need here. Hmmm...Oh, right, how about some jumpy, sinewy bass playing? Right, John, that's you, dude." or "This cut needs piano. But I want it to sound exactly like 'God' be Lennon. John, want to help us out here?" or "I need somebody to play these complex patterns while I tear up an atonal electric solo. John, is your guitar plugged in?" or "Hey, John, you know that dope harmony singing you did all over the 'summerteeth' record? Yeah, you wanna put some of that on this cut maybe?" If this album was indeed recorded more "live" than "Yankee", it makes his accomplishments all the more astounding.

Every cut on this record seems to fit another genre (or, more exactly, rock style). It's like they take what's become almost cliché and, through unusual juxtaposition and extreme attention to detail, make it sound new. For example, the rolling Duane Allman acoustic guitar sounds of "Little Martha" get flipped on "Muzzle of Bees" (incidentally, more dope harmony singing by John Stirratt on this cut too). The album unfolds like one highlight after another.

This is probably going to become my favorite Wilco record. Despite what some critics have said, I think it's tight, not indulgent. Some critics (see Kelefa Sanneh's review in the NY Times) decry the long songs. I think these lengthy instrumental passages suit the songs and Tweedy's intentionally slight delivery perfectly. The consistent song quality amazes me. As much as I love "Being There," I have to concede that there are several lesser cuts. Same deal with 'summerteeth,' easily choice numero uno for 'too long Wilco record.' And "Yankee" has quite a few song-ending guitar/weirdness melanges that I skip as well as "Reservations"--which I think I listened to maybe twice. But "Ghost" really comes through with every segment in place--extremely efficient.

Pardon me, I have to play "Kidsmoke" again.

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