Uncle Tupelo was an alternative country music group from Belleville, Illinois, active between 1987 and 1994. Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the band after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band's major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco.
Although Uncle Tupelo broke up before it achieved commercial success, the band is renowned for its impact on the alternative country music scene.[4] The group's first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo's sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy's lyrics frequently referred to Middle America and the working class of Belleville.
History
The Plebes and The Primitives
Jay Farrar, along with his brothers Wade and Dade, played in an early 1980s garage band named The Plebes.[5] Hailing from Belleville, Illinois, The Plebes sought to enter a battle-of-the-bands competition but needed another high school student as a member to perform. They invited Jeff Tweedy, a high school friend of Jay Farrar, to join the band and play with them for the show.[6] Despite a lack of skill with his instrument, Tweedy played an important role in the band by booking early gigs. While The Plebes had been playing music in a rockabilly style, Tweedy wanted to play punk rock like the music that he originally heard the group perform. This caused tensions between Tweedy and Dade Farrar, who left the band two months after Tweedy joined.[7]
Before leaving the band in 1984, Dade Farrar introduced its members to Mike Heidorn, the younger brother of his girlfriend; Heidorn then joined the group as their drummer.[7][8] The Plebes then decided to change its name to The Primitives, a reference to a 1965 song by psychedelic rock group The Groupies.[7][9] Due to the unpopularity of punk rock in the St. Louis area, The Primitives began to play blues-oriented garage rock at fast tempos. They performed regularly at a wedding hall in Millstadt, Illinois, where Tweedy's mother Jo Ann would collect the cover fee.[8][10] They also performed regularly at B St Bar in Belleville with bands such as The Newsboys (later Sammy and the Snowmonkeys), Charlie Langrehr, and The Symptoms. Wade Farrar was the lead singer of the band, but his commitment to Southern Illinois University and an attempted enlistment in the United States Army meant he was only able to dedicate a small amount of time to the group. Additionally, Heidorn broke his collarbone during a concert in 1986, which caused the band to go on hiatus. Jay Farrar and Tweedy continued to write songs and perform at Heidorn's house while he recovered, and by 1987 they had restarted the group.[11] The Primitives temporarily added Tony Mayr as a bassist so that Tweedy could play guitar, but a month later the band decided to keep Tweedy on bass and remain a three-piece.[8] To avoid confusion with a successful British band also named The Primitives, they decided to change their name once again, to Uncle Tupelo.[12] Although they performed only 1960s cover songs as The Primitives, the trio decided to take a new approach and write their own music under their new name.[13]
Early career
An early poster for an Uncle Tupelo show, in the style of Chuck Wagner's original drawing
The Primitives renamed itself Uncle Tupelo after a character in a cartoon drawn by Chuck Wagner, a friend of the band's members. The name was created by combining two randomly chosen words from the dictionary; inspired by the name, Wagner drew a picture of an old, fat Elvis.[8][14] The trio recorded a four-song demo tape, which won them supporting roles at the concerts of artists such as Johnny Thunders and Warren Zevon.[8] Tweedy met Tony Margherita while moonlighting as a record clerk in St. Louis. After attending a pair of the band's concerts, Margherita offered to become its manager.[15] Uncle Tupelo began to play regular shows at Cicero's Basement—a bar close to the campus of Washington University in St. Louis. Bands playing in a similar style, including Brian Henneman's Chicken Truck, often played at the venue, which by late 1988 was considered to have been the origin of a new music scene.[16] The band temporarily expanded to a four-piece with the addition of the guitarist Alex Mutrux, but soon reverted to a trio.[8]
Uncle Tupelo recorded its first tracks in the attic studio of future Chicago punk producer Matt Allison in Champaign, Illinois. The demo Not Forever, Just for Now includes the songs "I Got Drunk" and "Screen Door", as well as early versions of several songs that would appear on their first studio album.[17] The CMJ New Music Report gave the tape a rave review, and called Uncle Tupelo the best unsigned band of the year. The accolade attracted the attention of independent labels, and the band decided to sign with Jay Fialkov and Debbie Southwood-Smith of Giant Records (who offered to book them at CBGB in New York City).[18] Explaining the decision, the band said that "[our] original goals don't get distorted with an independent label."[19]
The fifth track on No Depression, sung by Jay Farrar. This song exemplifies the band's start–stop song technique, which was influenced by The Minutemen.
The tenth track on March 16–20, 1992, sung by Farrar. Originally a Louvin Brothers song, Peter Buck approached the band after hearing Uncle Tupelo's version of this song performed live. It is an exemplar of the acoustic recordings found on March.
Shortly after Uncle Tupelo's signing, Giant Records changed its name to Rockville Records. The band's first album for Rockville, No Depression, was recorded over ten days in January 1990, at Fort Apache South recording studio in Boston, Massachusetts. The album's thematic structure revolved around their lives as adolescents in Belleville; examples are songs about wanting to avoid factory work and songs about fearing a potential Persian Gulf Warmilitary draft.[20] Impressed by their previous work on Dinosaur Jr.'s Bug, the band wanted Paul Kolderie and Sean Slade to produce the album. Slade let Farrar play on the same 1961 Gibson Les Paul SG Junior that J. Mascis originally played on Bug.[21] The album was released on June 21, 1990, and the band celebrated by playing at Cicero's for two nights.
In between tours, Farrar, Tweedy and Heidorn formed a country cover band named Coffee Creek, along with Brian Henneman (later a member of The Bottle Rockets). Henneman impressed Uncle Tupelo, and he was invited to be a guitar technician and occasional multi-instrumentalist for the band.[22] While Farrar and Heidorn would avoid drinking too much after shows, Tweedy would continue drinking throughout the night. Although Tweedy stopped after he began dating Sue Miller in 1991, a significant communication gap had already been opened between Tweedy and Farrar.[23]
By March 1991, No Depression had sold an estimated 15,000 copies, and was featured in a Rolling Stone article about rising stars.[8][24] However, Rockville Records refused to pay the band any royalties for the album, a theme that would continue for the remainder of the band's contract.[24] Over seventeen days the band recorded a second album at Long View Farm in rural North Brookfield, Massachusetts. Still Feel Gone, with a more layered sound, was also produced by Kolderie and Slade, with contributions by Slade, Henneman, Rich Gilbert, Chris Bess of Enormous Richard, and Gary Louris of The Jayhawks. The band was disappointed with the production of the album and decided to discontinue working with Kolderie and Slade.[25] Soon afterward, Uncle Tupelo recorded "Shaking Hands (Soldier's Joy)" on Michelle Shocked's album Arkansas Traveler and joined her on the accompanying tour with Taj Mahal and The Band. However, the tour only lasted for a few shows because of managerial problems between Shocked and The Band.[26][27][28]
Alternative rock had broken into the mainstream by 1992, and an album released in that style was expected to earn the group a major-label record deal. However, Uncle Tupelo did not want to follow in the footsteps of groups such as Nirvana, and decided to play country and folk songs "as a big 'fuck you' to the rock scene".[29][30]Peter Buck, guitarist for R.E.M., saw the trio perform at the 40 Watt Club in Athens, Georgia and sought them out after the show. Buck was impressed with a version of "Atomic Power" that the band played, and offered his services for their next album. Over a span of five days, Buck produced the group's next album, March 16–20, 1992.[31] Buck allowed them to stay in his house during the sessions, and charged no money for his services. Henneman's role was increased for this album, and he taught himself how to play mandolin and bouzouki.[32] Despite turning away from the style of popular alternative rock, major labels began to show significant interest in Uncle Tupelo after March 16–20, 1992 was released.[30] The album sold more than their two previous recordings combined, although Rockville was displeased that it did not conform to the style of popular alternative rock.[33]
Major label contract
In 1992, Joe McEwen of Sire Records began to pursue the band. McEwen, who brought notable acts such as Dinosaur Jr. and Shawn Colvin to Sire, had been interested in them since hearing the Not Forever, Just for Now demo tape. At the urging of Gary Louris, McEwen offered Uncle Tupelo a contract. Band manager Tony Margherita invoked the $50,000 escape clause he had put in their Rockville contract, freeing the band to sign a seven-year deal with Sire. The deal required two albums and specified a budget of $150,000 for the first.[34]
Around the time of the recording of March 16–20, 1992, Mike Heidorn had secured a steady job at a Belleville newspaper company and was dating a woman who had two children from a previous marriage. Uncle Tupelo had planned a tour of Europe, but Heidorn wanted to stay in Belleville with his girlfriend, whom he married in August 1992.[28][35]
The band held auditions prior to the promotional tour for March 16–20, 1992, and two candidates stood out: Bill Belzer and Ken Coomer. Although Farrar and Tweedy agreed that Coomer was the better drummer, they were intimidated by his six-foot-four stature and long dreadlocks. The band instead selected Belzer as Heidorn's replacement, but he only stayed with the band for six months.[36] Tweedy explained Belzer's departure:[37]
I want to believe it was purely musical, and I honestly believe that it wasn't working musically. I also believe that we weren't emotionally mature enough to be close friends with a gay person at that point in our lives... And Bill was and is a very proud and righteous gay person, very open about his homosexuality.
After touring Europe opening for Sugar, the band replaced Belzer with Coomer. The band also experimented with new members: John Stirratt replaced Brian Henneman (who left to form The Bottle Rockets) while Max Johnston, the brother of Michelle Shocked, joined as a live mandolin and violin performer. Stirratt became the full-time bassist, allowing Tweedy to perform more songs with the guitar.[38]
Now a five-piece, Uncle Tupelo recorded their major label debut at Cedar Creek studio in Austin, Texas in early 1993. Anodyne consisted of live-in-the-studio recordings and included a duet with Farrar and Doug Sahm of the Sir Douglas Quintet.[39] The album sold 150,000 copies, and was their only entry on the BillboardHeatseekers chart.[40][41] The group toured until the end of the year, finishing with a sold-out concert at Tramps in New York City. Because of their concert draw, major executives at Sire began to see the band as a potential hit.[40]
With the addition of Stirratt, Coomer, and Johnston just prior to the recording of Anodyne, Farrar and Tweedy's relationship became more tumultuous, leading to verbal altercations after concerts. In one account, Tweedy recalled:[42]
Around this time, I would say something into a microphone onstage, and afterward [Farrar would] pull me aside and say, "Don't you ever fucking talk into that microphone again." He would misconstrue me talking into the microphone as more evidence of my out-of-control, rampant ego, more evidence of me feeling like I didn't have to be so fucking afraid anymore.
Tweedy felt the new members gave him a new opportunity to contribute to the band, but Farrar felt disdain for Tweedy's new carefree attitude. Years later, Farrar would claim that he had been tempted to quit the band after seeing Tweedy stroking the hair of Farrar's girlfriend, an act which he believed to have been a proposition.[43] In January 1994, Farrar called manager Tony Margherita to inform him of his decision to leave the band. Farrar told Margherita that he was no longer having fun, and did not want to work with Tweedy anymore.[44] Soon after the breakup, Farrar explained his departure: "It just seemed like it reached a point where Jeff and I really weren't compatible. It had ceased to be a symbiotic songwriting relationship, probably after the first record."[45]
Tweedy was enraged that he heard the news secondhand from Margherita, rather than directly from Farrar. The following day, the two engaged in a verbal confrontation.[46] As a favor to Margherita, who had spent a substantial amount of money to keep the band running, Farrar agreed to a final tour with Uncle Tupelo in North America. Tweedy and Farrar again engaged in a shouting match two weeks into the tour, due to Farrar's refusal to sing harmony on any of Tweedy's songs.[46] The band made its first appearance on national television during the tour when they were featured on Late Night with Conan O'Brien. Sire had requested that the band perform "The Long Cut" on the show, which further irked Farrar since the song was written and sung by Tweedy.
Uncle Tupelo's last concerts, two shows at The Blue Note in Columbia, Missouri and two shows at Mississippi Nights in St. Louis, took place from April 28 to May 1, 1994. A special "last leg" poster was created for the occasion which facetiously promoted the band as "St. Louis's 4th best country band", based on a readers' poll in the Riverfront Times. On the last night, Tweedy and Farrar each performed nine songs during the concert, and Mike Heidorn performed as drummer during the encore.[47]
Following Uncle Tupelo's final tour, Tweedy encouraged his bandmates to join him in a new group, while Farrar searched for members for a band of his own. Tweedy was able to retain the rest of the Uncle Tupelo lineup, and created Wilco. They began rehearsing a few days after the final Uncle Tupelo concert, and by August 1994 they were in the recording studio for their first album, A.M.. Farrar asked Jim Boquist to join his new band, Son Volt; Boquist was a multi-instrumentalist who had performed with Joe Henry as the opening act on Uncle Tupelo's last tour. Boquist also recruited his brother Dave, and Farrar convinced Mike Heidorn to leave Belleville to join the group. Farrar's new four-piece began recording their debut album Trace in November 1994.[48]
Wilco signed to Reprise Records while Son Volt signed with Warner Bros. Records. Son Volt had an early college rock hit with "Drown" from the album Trace, but Wilco maintained a more commercially successful career in the years to follow.[49][50] Regarding the possibility of a reunion, Mike Heidorn reported in a PopMatters interview that "nothing's ever for sure, but I would have to say, 'No such thing'."[51] Farrar said that he does not want the band to get back together, while Tweedy said that he believes that a reunion would not be productive musically.[52][53]
Farrar and Tweedy sued Rockville Records and Dutch East India Trading CEO Barry Tenenbaum in 2000 over royalties that the label allegedly owed them, winning restitution from Tenenbaum and the joint rights to Uncle Tupelo's first three albums. After securing the rights, the band released a compilation entitled 89/93: An Anthology. In 2003, Uncle Tupelo re-issued their first three albums, which before the lawsuit had cumulatively sold over 200,000 copies.[54]
Influences
As The Primitives, Tweedy and Farrar were highly influenced by punk bands such as The Ramones and The Sex Pistols. However, they began to listen to country music because punk rock was not well received in the Belleville and St. Louis music scenes. While they originally were introduced to country by their parents, it was not until this time that they began to listen to it for leisure.[10][55] Farrar typically wrote songs about Middle America, while Tweedy wrote about more mainstream topics such as relationships. Farrar took influence from authors such as Kurt Vonnegut and Jack Kerouac, whom he read while working at his mother's bookstore.[56] As a singer, Farrar's lyrics would be front-and-center during performances, but the band's musical style was mostly driven by Tweedy and Heidorn.[57] Jeff Tweedy said in an interview with the St. Louis Post-Dispatch:[13]
We probably have more influences than we know what to do with. We have two main styles that have been influences. For instance, we like Black Flag as much as early Bob Dylan and Dinosaur Jr. as much as Hank Williams... To us, hard-core punk is also folk music. We draw a close parallel between the two. We'll play both in the same set if we get a chance. We don't have any biases as far as music is concerned.
Uncle Tupelo is credited as one of the founders of the alternative country genre, a blend of alternative rock and traditional country music.[55][61] While the genre eventually became associated with solo artists such as Gram Parsons and Lyle Lovett, Uncle Tupelo is considered the first alternative country band.[62] Some media outlets like the BBC have even suggested that they were the genre's sole creator.[63][64] However, Tweedy and Heidorn dispute this claim, and Farrar says that there is no difference between alternative country and other genres such as roots rock.[65][66] Heidorn commented in a Country Standard Time interview:[67]
It's strange to hear Uncle Tupelo mentioned because what we were doing was in such a long line of musical history. People are wrong in starting with us and saying we started anything because we were just picking up the ball, starting with Woody Guthrie and on to the early '60s and the Flying Burrito Brothers that we were influenced by. We didn't start a genre. We contributed to a long line of fairly good music. That's the way we looked at it at the time—doing what was right for the song.
The band's first three albums influenced contemporary roots rock artists such as Richmond Fontaine and Whiskeytown.[68][69] Uncle Tupelo's usage of distorted guitars to play a style of music that was known for its earnestness became a lasting trend in 1990s modern rock.[70] Jason Ankeny wrote in AllMusic that:[1]
With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career—by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground.
Their 1990 album No Depression lent its name to an influential alternative country periodical.[71][72] Due to the influence of the album and periodical, the term "No Depression" became a byword for alternative country—particularly for bands with punk rock influence.[62][73] The alternative country movement played an important role in the success of future traditionalist country acts such as Robbie Fulks and Shelby Lynne.[74]
Uncle Tupelo also recorded a one-hour radio special that was released by Legacy Records in 2003. Legacy only distributed the CD, entitled The Long Cut: A One Hour Radio Special, to non-commercial radio stations as a way to promote the re-issues of the band's studio albums. The special is hosted by Lauren Frey and features interviews by Farrar, Tweedy, and Heidorn.[76]
Wilco is an American alternative rock band based in Chicago. The band was formed in 1994 by the remaining members of alternative country group Uncle Tupelo after singer Jay Farrar's departure. Wilco's lineup changed frequently during its first decade, with only singer Jeff Tweedy and bassist John Stirratt remaining from the original incarnation. Since early 2004 the lineup has been unchanged, consisting of Tweedy, Stirratt, guitarist Nels Cline, multi-instrumentalist Pat Sansone, keyboard player Mikael Jorgensen, and drummer Glenn Kotche. Wilco has released thirteen studio albums, a live double album, and four collaborations: three with Billy Bragg and one with the Minus 5.
Music of Missouri has a storied musical history. Missouri has had major developments in several popular music genres and has been the birthplace or career origin of many musicians. St. Louis was an important venue for early blues, jazz, country, and bluegrass. Kansas City has had famous performers such as Charlie Parker, Count Basie, Lester Young, and the distinct style of Kansas City jazz. Ragtime made influence in the city of Sedalia, Missouri, due to Scott Joplin and his publisher John Stark, and through Missouri native James Scott.
Son Volt is an American rock band formed in 1994 by Jay Farrar after the breakup of Uncle Tupelo. The band's current line-up consists of Farrar, Andrew DuPlantis, John Horton (guitar), Mark Patterson (drums), and Mark Spencer. In addition to playing alternative rock, the band is considered a staple of the alternative country rock movement of the 1990s. The band's sound also is rooted in folk rock and Americana. The band went on an indefinite hiatus in 2001, before reforming in 2004.
Jay Stuart Farrar is an American songwriter and musician currently based in St. Louis. A member of two critically acclaimed music groups, Uncle Tupelo and Son Volt, he began his solo music career in 2001. Beyond his established talents as a songwriter, he is a guitarist, pianist, harmonicist, and a vocalist.
Jeffrey Scot Tweedy is an American musician, songwriter, author, and record producer best known as the singer and guitarist of the band Wilco. Tweedy, originally from Belleville, Illinois, began his music career in high school with his band The Plebes along with Jay Farrar, also in the band. It became the alternative country band Uncle Tupelo.
No Depression is the first studio album by alternative country band Uncle Tupelo, released in June 1990. After its formation in the late 1980s, Uncle Tupelo recorded the Not Forever, Just for Now demo tape, which received a positive review by the College Media Journal in 1989. The review led to the band's signing with what would become Rockville Records later that year. The album was recorded with producers Sean Slade and Paul Q. Kolderie at Fort Apache Studios, on a budget of US$3,500.
Summerteeth is the third studio album by the American alternative rock band Wilco, released on March 9, 1999, by Reprise Records. The album was heavily influenced lyrically by 20th century literature, as well as singer Jeff Tweedy's marital problems. Unlike previous albums, Summerteeth was heavily overdubbed in the studio with Pro Tools. Tweedy and Jay Bennett wrote most of the album in the studio, a contrast to the band's previous albums, which were often recorded live by the entire band with minimal overdubs.
Being There is the second studio album by the American alternative rock band Wilco, released on October 29, 1996, by Reprise Records. Despite its release as a double album, Being There was sold at a single album price as a result of a deal between lead singer Jeff Tweedy and the band's label Reprise Records. The album was an improvement for the band in both sales and critical reception, in contrast to their debut album A.M. (1995). Taking its name from the 1979 film of the same name, the self-produced album featured more surrealistic and introspective writing than on A.M. This was due in part to several significant changes in Tweedy's life, including the birth of his first child. Musically, it juxtaposed the alternative country styles songs reminiscent of Uncle Tupelo with psychedelic, surreal songs. It was the only Wilco album with steel guitarist Bob Egan, their first with multi-instrumentalist Jay Bennett and their last with multi-instrumentalist Max Johnston.
A.M. is the debut studio album by the American alternative rock band Wilco, released on March 28, 1995, by Sire Records and Reprise Records. The album was released only months after the breakup of Uncle Tupelo, an alternative country band that was the predecessor of Wilco. Prior to its release, there was debate about whether the album would be better than the debut album of Son Volt, the new band of former Uncle Tupelo lead singer Jay Farrar.
Trace is the debut studio album by American rock band Son Volt, released on September 19, 1995, through Warner Bros. Records. The band was formed the previous year by Jay Farrar after the breakup of the influential alt-country band Uncle Tupelo. Prior to its release, there was debate about whether Son Volt or Wilco, Uncle Tupelo's other offshoot, would produce a better album.
March 16–20, 1992 is the third studio album by alternative country band Uncle Tupelo, released on August 3, 1992. The title refers to the five-day span during which the album was recorded. An almost entirely acoustic recording, the album features original songs and covers of traditional folk songs in near equal number, and was produced by R.E.M. guitarist Peter Buck.
Anodyne is the fourth and final studio album by alternative country band Uncle Tupelo, released on October 5, 1993. The recording of the album was preceded by the departure of the original drummer Mike Heidorn and the addition of three new band members: bassist John Stirratt, drummer Ken Coomer, and multi-instrumentalist Max Johnston. The band signed with Sire Records shortly before recording the album; Anodyne was Uncle Tupelo's only major label release until 89/93: An Anthology in 2002.
Loose Fur was an American rock supergroup comprising Wilco members Jeff Tweedy and Glenn Kotche, along with Wilco collaborator and Sonic Youth's multi-instrumentalist Jim O'Rourke. The trio first convened in May 2000 in preparation for a Tweedy performance at a festival in Chicago. Tweedy was offered the opportunity to collaborate with an artist of his choosing, and he decided to work with O'Rourke. O'Rourke brought Kotche to a rehearsal session, and the trio recorded an album's worth of songs. The trio have since released two albums, 2003's Loose Fur and 2006's Born Again in the USA, for Drag City. The band has only toured once.
Brian Henneman is an American musician best known as the frontman of the alt-country/roots rock band the Bottle Rockets, with whom he has been active as lead singer, guitarist and songwriter. Artists such as John Prine, Neil Young and Merle Haggard have influenced his songwriting style. Henneman began his musical career in the mid-1980s with the bands The Blue Moons and Chicken Truck, and also spent time as guitar tech/additional musician with peers Uncle Tupelo from 1990 before forming the Bottle Rockets in late 1992.
Max Johnston is a songwriter and multi-instrumentalist best known for his work on fiddle, Dobro, banjo, and mandolin with the bands Uncle Tupelo, Wilco and more recently, The Gourds. Johnston is the younger brother of singer-songwriter Michelle Shocked and has supported her in concert tours as well.
Still Feel Gone is the second album by American alternative country pioneers Uncle Tupelo. It was released in 1991 on Rockville Records and re-released in 2003 by Sony Legacy.
89/93: An Anthology is a retrospective compilation album by American alternative country band Uncle Tupelo, released in 2002 by Legacy Recordings.
Mike Heidorn, born 1967 in Belleville, Illinois, is the former drummer and founding member of alternative country bands Uncle Tupelo and Son Volt. Heidorn also played with the Uncle Tupelo precursors the Primitives and the one-off band Coffee Creek with Jay Farrar and Jeff Tweedy of Uncle Tupelo and Brian Henneman of The Bottle Rockets.
Wilco: Learning How to Die is a book by Chicago Tribune rock critic Greg Kot. The book was written with the cooperation of Wilco band members past and present. It covers the time period from when Wilco singer Jeff Tweedy was born, through the formation and breakup of Uncle Tupelo, and the career of Wilco through their 2004 album A Ghost Is Born. It is primarily written as an oral history, featuring interviews with Tweedy, John Stirratt, and other Wilco members, as well as manager Tony Margherita and Uncle Tupelo drummer Mike Heidorn. The book's title comes from a lyric of Wilco's "War on War", which appears on their 2002 album Yankee Hotel Foxtrot. It was published on June 15, 2004, by Broadway Books. The book received positive reviews from outlets such as The New York Times.
The discography of the American alternative rock group Wilco, consists of twelve studio albums, five extended plays (EPs), three live albums, twelve singles and four videos. As of 2012 they had sold in excess of two million albums worldwide.
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