Really hourglassing on this one.

This should SO be a Wilco t-shirt design.

Yeah... honestly, trying to separate the artist named on the record from the producer(s) (and other collaborators) is roughly the equivalent of directors and auteur theory talk in film criticism. It gives you a shorthand that doesn't necessarily hold up to close attention to the work.

After years of smuggling it into his books in bits and pieces, Gerber finally goes full-on, fully-neurotic metafiction. Despite the title he gives it, it's more Thompson than Pirsig..."we were somewhere around Barstow on the edge of the desert when the writer's block began to take hold."

Both great records. Neither is a regular go-to listening for me. Nothing much to choose between 'em. Pressing the PAUL'S BOUTIQUE button 'cause it (probably) needs the vote & blowing up the ol' aesthetic framework...the Dust Brothers piece of PB is the best part of either of these two records.

Got to be a tough double-hit to take. First he has to renegotiate his role with the addition of Mbappe. Then, the very next season, he has to re-renegotiate his role in a new tactical system that has built-in less flexibility to do so. All the while thinking about negotiating the next deal.

NY Times obit...

🎁🔗

Here's the last thing I saw, posted right around the same time as the Rolling Stone thing: www.facebook.com/share/p/1EoA...

Probably so, yeah, but paying for one CD with 40 minutes of music was a better deal than paying for 2 CD with 20 minutes of music each would have been.

Yeah, the seeds of the elongated stuff had been around since "A Forest," but by Disintegration they'd been around long enough to explore all the possible permutations. The Pixies were always more committed formalists in the sense that the shortness was an important part of the schtick.