We took it very seriously. Its not to say there werent good people working for these labels, but these were such big corporate machines used to working in a certain way. It was just a single recording studio, there wasnt a second control room. Click here to listen to Wilco on Sound Opinions in 2007, or here to hear the offshoot band Tweedy in 2014. The groups latest album, the appropriately titled Works for Tomorrow in 2015, is every bit as strong as its first. And thats a lot of respect that they have, bands like Veruca, packed for their audience, for their fans. We had a lot of phone calls, and I have most of those messages. Again, coming out of bowling alleys like Fireside. But the ultimately under-appreciated band in that town is Naked Raygun, and that was way before that time. That album drew the attention of Atlantic Records, and the band was one of the first among its peers to sign to a major label too early to sync with the alternative moment, as it turned out, but it did yield a partnership with Bettina Richards, whose Chicago-based indie Thrill Jockey Records still is the bands home. Id be reading about these bands in the Reader, and wed go to see these shows, and wed be in the audience; we werent on anybodys list or anything. That was just crazy. The current lineup performed and talked about that long and rich career on Sound Opinions last April. The gentrification process had begun. You were just borrowing the money. Weird. I was looking forward to living in L.A., traveling back to Chicago to make a couple records a year, and also make records out here using the thousands and thousands of recording studios out here. They looked great. At least people like me. Sorry, one and all. She was just so loud and so pitch-perfect. As does McCombs, who mentions Tortoise soundman, former Nerves drummer, and current stick man for the post-punk trio Stomatopod, Elliot Dicks, as someone who could always make a show happen at a moments notice: Elliot was a pretty important person around that time because he would try to make things happen on a super underground level. I just cant stand still and not adjust to economic change. I had a home place that I knew intimately and I could just jump in there when I needed to. Openness and curiosity that fed into it. As indie-rock ethicist Steve Albini long had warned, the business side of the story did not have a happy ending for most of these Chicago rockers. We literally went from a basement to world-class studios. Greg Kot: I dont think weve ever had an era where you can say, Oh, what happened to Chicago music? I think theres always great things happening here, because a) theres a lot of places to play; b) theres a ton of indie labels ready to support bands. That was our peer group, but there was also a predatory layer, big labels sending scouts to shows with a buzz around them, labels like Matador and Sub Pop becoming imprints for major labels and just fucking burning their money., While a few artists, like Urge Overkill and Eleventh Dream Day, were plucked out of Chicagos DIY scene, others, like Smashing Pumpkins and Liz Phair, werent well-known regulars in that small, tight-knit world.
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