Question: were/ are UNCLE TUPELO the finest mid-west Alt.Country trailblazers of the 1990s? Answer: unequivocally yes. “Anthology 1989-1993” features 21 tracks in all, including two previously unreleased (more about them soon) and doesn’t so much require critical re-appraisal, but simply prompts you to dive straight into the deep end and sod the superlatives.
“Anthology” culls some (not all) the finest moments from UT’S four studio albums, “No Depression” (1990); “Still Feel Gone”; “March 16-20, 1992” (produced by PETER BUCK at JOHN KEANE’S studio in Athens, GA) and their only major label outing, “Anodyne” from 1993. By the time they made this last, UNCLE TUPELO – originally a trio – had swelled to include future WILCO rhythm section JOHN STIRRATT and KEN COOMER.
There are also tracks from non-LP singles like the manic hoedown “I Got Drunk” and “Sauget Wind”, not to mention the band’s great take on CREEDENCE CLEARWATER’S already spooky “Effigy.” UT’S version is both heavier and ghostlier (if that’s possible), but is maybe eclipsed by both of the unreleased tracks here: JAY FARRAR’S “Outdone” – a 1989 demo that’s so full-blooded you’d never notice and UT’S superb reshaping of IGGY’S “I Wanna Be Your Dog”, transforming it into an amphetamine-laced country-punk crossover before cheekily lapsing into THE STOOGES’ original nihilistic riffing during the final seconds.
However, it’s the twin brilliance of both JAY FARRAR and JEFF TWEEDY’S songwriting abilities that ensure UNCLE TUPELO’S reputation will continue to outlast the pack. Originally very much FARRAR’S vehicle, he was later caught up as TWEEDY gained in confidence and, while this competition eventually fuelled the band’s demise, we should cherish what the band achieved while it’s two creative springs were gushing and also the fact that UT launched two further seminal outfits in SON VOLT and WILCO.
“Anthology” kicks in with UNCLE TUPELO’S fine reading of THE CARTER FAMILY’S “No Depression”, the song that launched the Alt. Country movement we now love so much. We ought to now reflect on what a brave move this was in the face of the Grunge Wars that were beginning to boil over at the time.
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Indeed, UNCLE TUPELO’S predominantly acoustic achievements were significant. Tweedy’s insular and lovely “Screen Door”, FARRAR’S incredibly tender “Still Be Around” (“If I break in two/ will you put me back together”) and all the songs from the “Folkways”-influenced PETER BUCK-produced sessions here – especially “Fatal Wound” and “Grindstone” – represent authentic, Roots-y highlights, fleshed out by mandolin, pedal steel and accordions.
But “Anthology” also makes it opaquely obvious that UNCLE TUPELO could rock with a vengeance. Actually, it was groups like THE REPLACEMENTS that originally galvanised UT into picking up guitars and this reviewer can detect PAUL WESTERBERG in JEFF TWEEDY’S nicotine rasp and the lusty raunch of “Gun” and the unbridled rock ‘n’ roll of later tunes “The Long Cut” and “Chickamauga”, all of which are passionate and totally convincing.
Besides, in JAY FARRAR, UNCLE TUPELO had a Telecaster slasher extraordinaire and when you hear the razor-tight riffing of “Graveyard Shift” and the way he allows feedback to bleed unchecked into the bottom-of-your-glass confessionals “Whiskey Bottle” and “I Got Drunk” you’ll have no problem in understanding why THE CLASH were as close to the band’s heart as HANK WILLIAMS. For the uninitiated, TWEEDY was primarily the group’s bassist until STIRRATT’S arrival for “Anodyne.”
Although this writer’s struggling manfully to retain a critical distance, “Anthology 1989 – 1993” is just so amazing we’re approaching foaming at the mouth territory here, so…no, damn it, I’m not sorry for my relentless enthusiasm. If you’ve never heard UNCLE TUPELO, for God’s sake rectify the situation. This is wish fulfilment all the way.
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