I definitely love hearing the releases that have been around for years. I don't want to say collecting dust because that sounds dismissive and rude, but it does give the idea that once the original release or the band's heyday passed, so did interest in the band.
Log (Columbus, Ohio) was active from 1992 to 2004 and Bandcamp has two 7"s available for only $5 on this Bandcamp page. Each was released by Anyway Records and now is handled by Old 3C who also deal with releases from Great Plains and Thomas Jefferson Slave Apartments.
There are moments where Log sound like the above mentioned bands, but other times where they sound more like late 1980s indie rock bands such as Dumptruck or even Uncle Tupelo. One of the songs on "The Early Years" CD compilation is a Bird Nest Roys cover.
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Uncle Tupelo - French Village Drive-in, East St. Louis, Missouri, July 1987 / Lincoln Theater, Belleville, Illinois, 1988
Paying your dues as an up-and-coming midwestern rock band sometimes means playing an East St. Louis drive-in in between screenings of Innerspace and Adventures in Babysitting. At least that's what Uncle Tupelo had to do in the summer of 1987. And somehow, we can time travel back to catch a glimpse of the barely-out-of-their-teens trio tearing it up above a poorly rendered Bugs Bunny mural. This shaky/blurry camcorder footage (uploaded in improved quality by the terrific 3 Cameras and a Microphone channel) is priceless stuff, Jay Farrar, Jeff Tweedy and Mike Heidorn rowing fearlessly down Pickle River.
About a year later, Uncle Tupelo had upgraded their environs somewhat, playing a hometown show in Belleville — and 3 Cameras has more shaky/blurry footage for our enjoyment. A rowdy crowd, likely made up mostly of friends of the band. But even though their debut LP was still a couple years away, UT is starting to find its feet, getting more ambitious with their original songs and getting into some unique interplay. They also haven't lost their sense of humor, blowing off steam with very loose Replacements-style covers of Neil Young, Skynyrd, CCR and KISS. "Fun" isn't necessarily the word that comes to mind immediately when it comes to Uncle Tupelo, but everyone's having a blast in Belleville on this particular evening.
Tweedy Says: 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, hardcore 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. We have just as much fun playing acoustic guitars with a whole bunch of people singing along, as we do playing a noisy instrumental.
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Brown Horse has a massive, meaty, guitar-heavy Americana sound that immediately recalls Crazy Horse in its full-throated abandon. Yet its music is also shot through with vulnerability, thanks to the flute-y, warbly vocal delivery of Patrick Turner, a dead ringer for Centromatic’s Will Johnson. A pedal steel, played by Emma Tovell at top volume, thickens the mix, softening the certainty of electric six-strings. In the single, “Twisters,” its ache and wail folds into a monumental onslaught; on more acoustic “Comeback Loading” it takes a plaintive lead, turning country rock into country.
Brown Horse can clearly trace its roots to a 1990s alt-Americana renaissance led by Son Volt, Uncle Tupelo, Whiskeytown and Jason Molina. Its third album Total Dive has the heft and swagger of songs like Tupelo’s “Chickamauga,” the plangent melancholy of Molina’s “Long Desert Train.” If you think of Americana as an American genre, though, you’re in for a surprise. Brown Horse hails from Norwich, England, muddy boots and all.
Well, why not? America got the folk underpinnings of country music from the U.K., and there’s no tariff, at least yet, on musical influences. “The Heart of the Country” shimmers and ruminates with unadulterated country feeling, regardless of which country it’s centered on.
There’s also a good bit of rock tucked in here, especially on the title track, with its swirling, fuzz-crusted guitar line, its roughly harmonized chorus. A connection to the big 1990s guitar bands—Built to Spill especially—doesn’t go far astray. But he balance between bombast and sensitivity is very fine; the slow-handed guitar solos are stirring and raw. This is a big album with quiet moments, and if you like your alt-country dialed up and unapologetic, go find Brown Horse at your local Total Dive.
Quintessential ass haul .... Lowkey almost have every uncle tupelo album ... Dubs!!! Really very cheesed Abt these the phm was like divine interventiond to me
Wilco's debut album, A.M. was released on 28 March 1995.
Uncle Tupelo dissolved acrimoniously in May 1994, and 26-year-old Jeff Tweedy, along with Ken Coomer, Max Johnston and John Stirratt (who had all played with Uncle Tupelo) entered the studio in June to began work on new material.
A.M. received mixed reviews, especially compared to Uncle Tupelo's material, and fared poorly when compared to Son Volt's debut album (fronted by Uncle Tupelo's Jay Farrar), Trace, which was released in September 1995. A.M. also failed to find a wide audience, selling a little more than 150,000 in the first 10 years after its release.
Tweedy has since described the album as "trying to tread some water with a perceived audience."
