4 out of 5

Label: Warner Bros.

Produced by: Wilco

I already went into my up and down history with Wilco in my ‘Being There’ review.  Still, I at least was able to go into that album with relatively fresh ears, since I’m not sure I ever listened to those discs all the way through prior to the review.  ‘Summerteeth,’ though, was one of the first albums I bought just on someone else’s say-so: the word of the cool kid at Sam Goody (whom I maybe have or haven’t named, but the references are always to one guy: James).  We were playing it; he was bobbing his head; I bought it.  And I listened the shit out of it.  I knew the lyrics, I bobbed my head.  There were some other purchases made via this same path, like Elliot Smith and Belle and Sebastien (yes, James was that kind of indie guy), and I “liked” those groups, but none of those discs got the thorough listen-to as ‘Summerteeth.’  And y’know, every god damned time I hear the bristly blast of opener ‘Can’t Stand It,’ I swear once again that the album is amazing.  That’s prior to sifting through the full hour runtime, of course.  Anyhow, after several, several cycles with my “new” ears, post accepting that ‘Being There’ is a pretty great – if lyrically simple – rock disc, I’m ready to admit… that ‘Summerteeth’ is a pretty good pop disc.  But it’s not perfect still, at least to my ears.

What is apparent from the start: more sonic textures (further hints of the band’s evolution), and Tweedy’s willingness to plunge into cryptic sadness with his lyrics, setting aside the girl anthems of last album.  But that was the celebration album, and this is, maybe, the breakup.  I also don’t think its crazy to call this the first legit Wilco album, as it fully steps free of the Uncle Tupelo sound and emerges into the world of pop, keys and production sheen in tow.  Though the added nuances were much lauded, it doesn’t feel fully synchronous.  The tracks that are immersed in the new sound – like ‘Can’t Stand It,’ or ‘Pieholden Suite’ – work, and work with varying formats: the former track a foot stomper, the latter a hang-your-head snarky weeper.  But elsewhere, where rock still rules the song – ‘I’m Always in Love’ – the layering feels sorta slapped on there, like the group was trying out new tricks.  And, as was evident from ‘Being There,’ songs still feel a bit bumpy when they transition to their bridges.  It’s like, being a student of classic influences, Tweedy can’t ditch the idea that every verse-chorus-verse needs a bridge.  Songs that are allowed to evolve organically, such as the glorious title track, or ‘Via Chicago,’ show the group taking a smoother approach to composition, letting the song grow into a climax.

And then back to the lyrics.  I remember James telling me that the disc was super sad, but it doesn’t hit home with me.  Tweedy takes some risks to go bleak and cryptic, and those songs are really rich to me – ‘She’s a Jar,’ for example.  But elsewhere we’re again stuck with some love tracks (‘Nothing’severgonnastandinmyway (Again)’ – it calls love a weed, but it’s still a love track) or the sensitive sad guy stuff of ‘How to Fight Loneliness,’ the opening line of which – ‘How to fight loneliness / Just smile all the time’ – seems sorta like the M.O. for the middle stretch of the disc.  I sorta’ always lose focus after the first few tracks, honestly, because the formula just feels slightly off.  Most of the tracks don’t pursue the all-out blitz of the first track, and those that hit on a solid groove are dissuaded from standing tall by the production excess, or lyrics that play to sensibilities I don’t vibe with.  (personal opinion by which I judge an album: check)  (which probably dictates all reviews: check)  (needless assertion of the obvious: …       )

It is, absolutely, a fantastic album.  And I certainly wouldn’t shame anyone for loving it.  But my faith in my mostly consistent tastes holds true: solid songwriting chops, as evidenced before, and Wilco definitely took a full step forward in establishing themselves as a separate entity from their past projects, but there are still some old habits to reformat and rough edges to smooth off.