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Wilco’s Pat Sansone on Memphis, their WYXR Visit and Playing Mempho

When Wilco take the stage at Mempho Fest on Sunday, they’ll be returning to a kind of spiritual center for the band. As the band’s multi-instrumentalist Pat Sansone reflects, “How can you do what we do and not have a crush on Memphis? Whether you’re pulling from early rock and roll, or from Big Star, or Memphis soul and Stax — whatever it is, there’s gonna be a thread that leads back to Memphis, somehow. I mean the first Wilco record was done at Easley-McCain Studios!”

Wilco’s Mempho appearance will kick off another round of two- to three-week jaunts the band has been making since spring, in an ongoing tour marked by its balance between large halls and smaller rock clubs. “Part of the band’s philosophy is to bring it to the people,” says Sansone. “Just recently we played Red Rocks, and then a week later we played a 1,300 seat rock club in Bozeman, Montana. And that little club show ended up being one of our favorite shows of the year. We try to make it approachable. It’s the nature of our band — we’ve got little pockets all over the place.”

These days, the band will be premiering songs from their latest album, Cruel Country, an album they backed into rather unexpectedly. “As we’ve been working on lots of tracks over the last couple of years, it seemed like we were making two records simultaneously,” Sansone explains. “One batch of songs had a country flavor and was more acoustic, and another batch was more the art pop side of Wilco. We were going to focus more on the art pop, but as we were getting close to our festival we do every two years in North Adams, Massachusetts, the Solid Sound Festival, it occurred to Jeff and to us that we had this country/folky body of work that was not far from being finished, so why not put the finishing touches on it, and offer it to our fans at the festival? Kind of as a gift for coming to the event. But as we started digging into these tracks and putting the finishing touches on them, it became apparent that, ‘Oh, this is our next album!’ This is a significant piece of work for us. So it wasn’t really planned to be the next official Wilco record until just weeks before it was released.”

And as for the live show, Sansone says “we’ve been playing a handful of the new songs in the set. And then a grab bag of stuff over the years. There’s a lot of material to choose from at this point! But we try to represent the different records of the band’s life.”

Pat Sansone (Credit: Sansonica, Inc.)

After their Mempho appearance, the band will make a slight detour: “We’re going to do an afternoon set at the festival,” says Sansone, “and then we’re gonna run over to Crosstown with some guitars and a snare drum and do two or three songs and have a chat on [community radio station] WYXR. I really want to show the rest of the guys what’s happening at Crosstown. I think they’ll be blown away.”

Beyond having his own program on WYXR, 91.7 FM, Sansone has seen Crosstown evolve and blossom since the earliest days of its renovation. “It all started with my friendship with [WYXR executive director] Robby Grant. I was involved in the Mellotron Variations project with him, and spending time at the Crosstown Concourse because of that. And I got to know Winston Eggleston. But I remember before Crosstown was even completed, we were in town for a Wilco show, and Robby picked me up to show me the building as they were developing it. And a couple years later, we performed the Mellotron Variations there. So Robby kept me in the loop as he was developing the ideas for WYXR, and when it became a reality, he asked me if I’d like to do a show, and I said I’d love to. There’s a radio station in Boston that I really love, WUMV, and I turned Robby onto it, and we’d trade other internet radio stuff. So we shared this love of radio as a medium.”

Having a radio show in the Bluff City brings things full circle for Sansone, who’s interest in Memphis far predates Wilco. “I grew up just hours away, in Meridian, Mississippi,” he says, “and I have an aunt and uncle and some cousins in Memphis, so it’s just always been a part of my life. Memphis was the big city. From a very early age, I felt the gravitational musical pull of Memphis. And when I was in my teens, and obsessed with the Beatles, I discovered Big Star and heard those half Southern/half English accents, and realized that this music had been made in Memphis, a place I had actually been to, I was hooked! There was no turning back.”

Wilco will appear at Mempho Fest on Sunday, October 2nd, 4:20 p.m., followed by a live appearance on WYXR 91.7 FM from 7-8 p.m.

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Music Record Reviews

Snowglobe “Does the Distance” with Vinyl Release

The resurgent interest in vinyl is real, and apparently here to stay. Even as streaming services simultaneously make artists’ music more accessible and less lucrative, vinyl releases and re-releases continue to escalate, lending musical works a kind of permanence. “Vinylus longa, vita brevis,” goes the old Latin saying (or does it?), and for those who never stopped loving LPs, there’s no little satisfaction in knowing the medium has staying power.

Furthermore, when albums from the CD-dominated era are re-released as LPs, musical works can take on a new life, reassessed in light of the intervening years. And so it is with Doing the Distance, the 2004 sophomore release by local power pop stalwarts Snowglobe, which is now being released in its first vinyl iteration by Black & Wyatt Records. The album’s title could not be more appropriate, for the one phrase that springs to mind on its re-emergence is “staying power.”

For the many Snowglobe fans around town, this comes as no surprise. It’s been heartening to see their occasional reunions greeted with great enthusiasm, such as their 2017 appearance at one of Robert Wyatt’s beloved Harbert Porch Parties.

Snowglobe play a Harbert Porch Party, ca. 2017 (Illustration by Michael Arthur, courtesy Black & Wyatt Records).

Even at its initial CD-only release, Doing the Distance was much loved by those few who heard it. Chris Herrington gave it a glowing review in the Memphis Flyer:

These 16 tracks — recorded locally, mostly at Memphis Soundworks and Easley-McCain Studios — are more like a 44-minute rock symphony. Each song melds into the next and orchestral touches and instrumental interludes share time with more conventional song structures and locked-in classic-rock guitar solos…Cello and violins and sleighbells, mellotron and musical saw, layered vocals and subliminal drops of musical Americana, squiggly guitars and churning pianos: This is studio rock of truly intense craft that also maintains an air of spontaneity and playfulness. They aren’t late-’60s Beatles or the Band, of course, but Snowglobe honor the comparison. Certainly, no other Memphis band is making music (or ever has made music?) so casually dense.

Snowglobe (Photo courtesy Black & Wyatt Records)

Herrington hit the nail on the head with his classic rock comparisons, for undergirding all the refined aural candy of synthesizers, strings and effects are solid songs that rock righteously. And if the lyrics are a tad oblique, that only lends them enough mystery to have one coming back for more, the better to chew over their layered meanings. All told, the lyrics have a very real resonance with their times, alternately paranoid, despondent, and idealistic, with a finely-tuned philosophical bent that lends them a life beyond any topical concerns of the George W. Bush era.

Scanning the music journalistic universe, one quickly sees that this album has been discovered and re-discovered multiple times over the years, belying levels of appreciation that mere sales figures from its original release can’t capture. Fourteen years ago, gaming and entertainment webzine IGN called it “The best three year old album you’ve never heard.” Writing about this latest reissue, The Vinyl District refers to Snowglobe as “a Memphis indie rock institution.”

Indeed, hearing Doing the Distance on vinyl confirms that sentiment, cementing the band’s underground reputation as pop innovators. And, as if in recognition of that, this re-release will be the first subject of a listening party focused on a single album at the Memphis Listening Lab.

On Saturday, August 7 from 6 to 8 p.m., the entire LP will be presented on the Memphis Listening Lab’s Egglestonworks high-end loudspeakers. There will be a discussion afterwards. Attendees paying admission of $25 per person/$30 per couple will also receive a copy of the album.

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Music Music Blog

Wilco to Play Levitt Shell in First Fundraiser of the Year

Wilco

The band Wilco has longstanding ties to the Bluff City, reaching back to their 1994 debut, A.M., recorded at Easley-McCain Studio.

Even then, in their alt-country days, they displayed a reliable knack for both classic songwriting and sonic experimentation: a perfect fit with that renowned Memphis studio in its heyday. That such a spirit has remained and evolved with the band over the course of 10 subsequent studio albums is a testament to their collective restlessness with indie-pop conventions.

While the group has seen personnel changes over that time — a stable lineup featuring Nels Cline, Mikael Jorgensen, Glenn Kotche, Patrick Sansone, John Stirratt, and, of course, singer-songwriter Jeff Tweedy — it has endured since 2004. Now, in the wake of a marked ramping-up of Jeff Tweedy solo albums, they’re touring to support 2019’s Ode to Joy, which strikes a middle ground between the solo Tweedy’s more stripped-down approach and the wider sonic palette of previous Wilco albums.

Mellotron Variations at the Solid Sound Festival, 2019 (L-R, Pat Sansone, Robby Grant, Jonathan Kirkscey)

The band’s spirit of sonic exploration has lately infused the most recent Memphis/Wilco cross-pollination, in the form of the Mellotron Variations group, an ensemble of Mellotron players founded here by Robby Grant and Jonathan Kirkscey, which has grown to include John Medeski and Wilco’s Pat Sansone. The group’s concerts and rehearsals have made Sansone a more regular visitor from his home in Nashville, and when they played Wilco’s Solid Sound Festival in Massachusetts last year, the sympatico between Wilco and Memphis’ flair for the unconventional was sealed.

Thus, Wilco’s upcoming performance at the Levitt Shell on April 14th (just announced Tuesday) has a certain resonance with the Memphis music scene. Part of the Shell Yeah! Benefit Concert Series held at the iconic outdoor stage every year, this will precede the Shell’s regular Summer Orion Free Music Concert Series as a rare ticketed event — one of four this year — designed to raise funds for the many free concerts staged by the Levitt Shell.

Shell Yeah! Presents Wilco, Levitt Shell, Tuesday, April 14. 8:00 pm. Tickets on pre-sale February 5, public sale February 7.