Wilco - Summerteeth
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Music CD Cover
Artist: WilcoBrand: WILCO
Edition: Music CD
Audio: English (Original Language)
CD Release Date: 1999-03-09
Music Label: Reprise / Wea
Soundtracks:
- Can't Stand it
- She's A Jar
- A Shot In The Arm
- We're Just Friends
- I'm Always In Love
- Nothing'severgonnastandinmyway (Agian)
- Pieholden Suite
- How To Fight Loneliness
- Via Chicago
- ELT
- My Darling
- When You Wake Up Feeling Old
- Summer Teeth
- In A Future Age
- Bonus Track
- Bonus Track
- Bonus Track
Free Music Notes for Summerteeth
Free Music Review: warm, honest record
Hit: 5 Stars
Summer Teeth is Wilco's best album. On it, they employ the always-fun juxtaposition of happy music accompanied by ominous lyrics. The result is a wonderful album that improves and combines A.M.'s lyrical directness with Being There's expansion of sound. Most accounts of Summer Teeth mention the Beach Boys and the Beatles as obvious reference points, but these observations are superficial and seemingly based only on Wilco's use of mellotron and theremin (I think I hear a theremin on "Nothinsevergonnastandinmywayagain"). To Wilco's credit, they really only sound like themselves. The middle part of Summer Teeth, from "Always in Love" right on through "When You Wake Up Feeling Old," is spectacular. Always in Love is a perfect indicator of the sing-along dementia found throughout the album: the narrator seemingly worries about always being in love based on the fact that he is falling in love outside the confines of a committed relationship. The upbeat music and singing that accompany the song, however, could easily fool those only half-listening into thinking it a garden-variety radio singalong about how swell always falling in love is. To Wilco's credit, the song does work on that level alone, though. Nothingsevergonna...is the album's most fun pop song and contains a chorus complete with handclaps, which are always welcome additions to any song, a fact seemingly forgotten in the past twenty years. In fact, I'd like to take this opportunity to beg other bands to take Wilco's lead and throw some handclaps in songs. Judging by the utter nonsense that clogs the airwaves these days, it seems many bands might actually improve their song quality by putting down guitars and other instruments that require skill and talent and learn how to just keep time again with a strict handclap regimen. Then graduate back to guitars. That would be a positive start. We need more radio songs like "Every Day" by Buddy Holly, and less like whatever gets played at the beginning and end of shows like Dawson's Creek.And Wilco are ready to help. Pieholden Suite is a perfect song. It consists of two cool changes (remember changes, radio bands?) and climbs the whole time. As the song progresses, Wilco add strings, bells, banjo, harmonica, keys, and horns. It's completely enchanting. How to Fight Loneliness is a low key organ-guitar-piano song that seemingly develops the album's "theme" when Tweedy suggests that one can/does fight loneliness with the fake gesture of a forced smile, one that flashes fangs more than pearlies. Via Chicago is a slow, strange singalong where Tweedy sings that he dreamed about killing Jay Farrar. I'm kidding, but I did think that for a second and laugh when first listening to the opening lines, when Tweedy tells an unspecified someone he dreamed about killing them and watching them die and bleed by "embarcadero" banks. It was the Farrar-thesaurus word "embarcadero" that had me making the fun connection to him as the intended victim. To any fellow Tupelo fans out there, let me once again say "I am kidding" so that I avoid responses of either the "no way, dude" or "I'm with you, man; he wants to kill Farrar" variety. My favorite song on the album is "When You Wake Up Feeling Old," which reminds me of perfect early 1970s pop. It resides in a world somewhere between Neil Sedaka's "Laughter in the Rain" and Chicago's "Saturday in the Park," although I won't go so far as to say it is as classic as either of those (but I'll give it time). The albums lyrics are startling, and if taken literally, suggest that Tweedy has cheated on his wife, considered shooting smack and commiting murder, and struck a woman. Obviously that's not the case, but the direct nature of such jarring images give the record a powerful and memorable take on the twisted pop song, the twisted pop album, in fact. There are too many synth sounds on the record. That's about my only complaint. This album is a keeper, one that will endure through umpteen musical trends and changes in the up-and-coming decades. What other kinds are even worth listening to? Wilco deserve rampant radio play and recognition for this effort. Here's hoping this album reintroduces melody and songcraft to radio play from singers whose gaze extends beyond the navel.
Summerteeth Poster
1999 album from the Americana/Alt-Rock band formed by guitarist/songwriter Jeff Tweedy.Wilco's de facto frontman, Jeff Tweedy, sports a colorful past, one where he wrote paint-peelers dedicated to late Minutemen founder D. Boon as a member of the feted (and maybe fated) Uncle Tupelo and where he dolefully crooned Woody Guthrie lyrics on 1998's Mermaid Avenue. But Wilco's Summer Teeth shows hardly a tatter of Tweedy's herky-jerky postpunk intensity or the agrarian rootsiness that so often came in the past from him. Instead this layered album spreads its digits far into guitar-heavy Britpop, with full-group backing vocals carrying bouncy choruses and synths whistling over the melodies. The tunes sound like a crosshatch of orchestral plans and an execution drawing on Alex Chilton and Big Star, the Kinks, and, only distantly, Wilco's debut, A.M. "We're Just Friends" and "Via Chicago" stand as harmonized twists on ballad formulas, the latter recalling Mermaid Avenue's "California Stars" with the opening line, "I dreamed about killing you again last night / And it felt all right to me." So it's not always uplifting or cheery, but it's got dozens of surprises in a mere 15 songs. --Andrew Bartlett
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