Uncle Tupelo Albums (4)
What The Critics Say
Uncle Tupelo never struck a finer balance between rock and country than on Anodyne, their major-label debut and parting shot. For all of the ill will undoubtedly simmering throughout these sessions, Jay Farrar and Jeff Tweedy have never before been more attuned to each other musically; where earlier records often found the band's twin forces moving in opposing directions, Anodyne bears the full fruits of their shared vision. Recorded live in the studio, the album encompasses and reinterprets not only country-rock (evidenced by the group's pairing with Doug Sahm on his "Give Back the Key to My Heart") but also traditional country (the tribute to the songwriting legacy of "Acuff-Rose"), rock (the churning "The Long Cut," "Chickamauga"), and folk ("New Madrid," "Steal the Crumbs"), the band's reach never once exceeding its grasp. ~ Jason Ankeny, All Music Guide
What The Critics Say
Produced by R.E.M.'s Peter Buck, March 16-20, 1992 represents Uncle Tupelo's full evolution into a true country unit; with the exception of the eerie squalls of guitar feedback which haunt Jeff Tweedy's mesmerizing "Wait Up," there's virtually no evidence of the trio's punk heritage. Instead, the all-acoustic album -- a combination of Tupelo originals and well-chosen traditional songs -- taps into the very essence of backwoods culture, its music rooted in the darkest corners of Appalachian life. An inescapable sense of dread grips this collection, from the large-scale threat depicted in the stunning rendition of the Louvin Brothers' "The Great Atomic Power" to the fatalism of the worker anthems "Grindstone" and "Coalminers"; even the character studies, including a revelatory "Moonshiner," are relentlessly grim. A vivid glimpse at the harsh realities of rural existence, March 16-20, 1992 is a brilliant resurrection of a bygone era of American folk artistry. ~ Jason Ankeny, All Music Guide
What The Critics Say
Uncle Tupelo clearly defined their nervy Gram Parsons-meets-the Minutemen sound on their debut album, 1990's No Depression, and their 1991 follow-up, Still Feel Gone, found them branching out into new variations of their previously established themes. While No Depression was dominated by breakneck tempos with the occasional slow, contemplative number thrown in for variety, Still Feel Gone found Uncle Tupelo taking a closer look at the middle ground, as evidenced by the high-strung acoustic guitars of "Still Be Around," the measured but powerful Crazy Horse stomp of "Looking for a Way Out," the lonesome shuffle of "True to Life," and the stark atmospherics of "If That's Alright" (the latter of which in retrospect sounds like the first dawning of the ideas Jeff Tweedy would explore with Wilco). But plenty of what made No Depression so impressive is still on view here, including the brutal stutter-step of "Gun," the simple but powerful declaration of "Watch Me Fall," and the heartfelt tribute to an obvious influence, "D. Boon." And if anything, the band sounds even more powerful this time out, and the broader picture of their abilities only confirms how strong a combination Jay Farrar, Jeff Tweedy, and Mike Heidorn really were. If Still Feel Gone isn't as immediately impressive as No Depression, a few plays confirms it's still the work of a gifted band at full strength, and this reissue gives the album the special treatment it deserves. ~ Mark Deming, All Music Guide
What The Critics Say
Uncle Tupelo's landmark opening salvo is the group's most rock-oriented album, steeped more in breakneck speed, punk crunch, and guitar dissonance than any of their subsequent efforts. Indeed, despite the presence of mandolins, fiddles, and banjos -- as well as inclusion of the title track, a faithful cover of the A.P. Carter classic -- the trio's vaunted country leanings are less musical than thematic on No Depression, thanks in large part to singers/songwriters Jay Farrar and Jeff Tweedy's acute depictions of rural, blue-collar life. Like the Replacements -- never more obvious an influence than on this LP -- Uncle Tupelo's songs paint grim, unrelenting portraits of aimless Midwestern existence, split between days working on the opening cut's "Factory Belt" and nights spent blurry-eyed and wasted ("Whiskey Bottle," "Before I Break"). Still, for all of the record's doleful cynicism -- virtually every cut nods toward dashed hopes, broken promises, and paralyzing fear -- there's an undeniable electricity afoot as well; by channeling the mournful clarity of country into the crackling fury of punk, No Depression brings new life to both musical camps. ~ Jason Ankeny, All Music Guide
