Professional ratings
Review scores
Source	Rating
Allmusic	[1]
Entertainment Weekly	A [2]
Pitchfork Media	(9.4/10) [3]
Robert Christgau	[4]
Rolling Stone	[5]

Summerteeth is the third studio album by Chicago alternative rock band Wilco. Released through Reprise Records on March 9, 1999, the album was heavily influenced lyrically by twentieth 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 created most of the album in the studio, a contrast to the band's previous albums, which were rehearsed live and recorded almost at once.

Despite critical acclaim from numerous outlets, including Allmusic, The Chicago Tribune, and The Village Voice, Summerteeth sold approximately 200,000 copies — a modest number compared to the sales of 1996's Being There. Wilco agreed to remix "Can't Stand It" with David Kahne to cater to radio markets, but the single failed to attain substantial airplay.

Production [link]

Wilco released Being There in 1996 to a higher level of commercial success than its debut album, A.M., selling 300,000 copies (nearly double the number of its first record).^[6] After the promotional tour to support Being There, Wilco began to record tracks for a third album. The initial Summerteeth recording sessions occurred in November 1997 at Willie Nelson's music studio in Spicewood, Texas. Lead singer Jeff Tweedy was particularly emotional during the sessions because he was upset that he was unable to spend time with his wife and son because of the constant touring schedule.^[7] As a result, the songs recorded reflected an introspective view that was also influenced by literature that Tweedy was reading at the time. While touring, Tweedy would read books by Henry Miller, William H. Gass, and John Fante. According to Tweedy:^[8]

I definitely wanted to get better at writing, and those things happened simultaneously with trying to read better. I would write tons of stuff in my head, and forget. Some songs on Being There, I don't think I ever wrote any lyrics down ... To fight that, I started writing words on paper and making up melodies to go with them. By writing things down, and putting more words into my head, it put more words in my mouth when I turned on the tape recorder to sing.

The sessions yielded a number of songs, including "I'm Always in Love", "She's a Jar", and the Henry Miller-inspired murder ballad "Via Chicago".^[7] Tweedy's relationship with his wife Sue Miller became the inspiration for several of the songs, although she was portrayed mostly in a negative sense. Miller was reluctantly willing to give Tweedy the creative license to write songs, but was concerned about lyrics such as "she begs me not to hit her" from "She's a Jar". Before the album was completed, Wilco decided to collaborate with Billy Bragg on the album that would become Mermaid Avenue.^[9]

Once the Mermaid Avenue sessions were completed, Wilco entered Chicago's Kingsize Soundlabs with engineers Dave Trumfio and Mike Hagler to finish Summerteeth. Tweedy and Bennett wanted to start the recording sessions over by experimenting with a new approach to mixing the songs. Unlike previous material, which was performed live in the studio, the pair heavily overdubbed many of the songs with Pro Tools. As a result, the contributions of other members were diminished.^[10] To complement the "bold, but depressing" lyrics, Tweedy relied more heavily on the production skills of multi-instrumentalist Jay Bennett, who played a variety of instruments besides his usual lead guitar and keyboard work, including Mellotron, tambourine, synthesizers. Bennett even played the bass guitar and drums when bassist John Stirratt and drummer Ken Coomer were not in the studio.^[11] Coomer was not pleased about a reduced role in the band:^[12]

After a series of personnel changes, Reprise Records sought to release a hit single from the album to increase album sales. Wilco agreed to do this "once and once only" on the basis that they wanted to cooperate with the label that allowed them such freedom.^[13] The band and Reprise executives agreed to re-mix "Can't Stand It" to make it more radio-friendly. Within one day, the song was remixed into the version that appeared on Summerteeth, cutting out portions of the bridge and adding bells.^[14] "Can't Stand It" failed to cross over from Triple-A to modern rock radio stations.^[15]

Reception [link]

Summerteeth peaked at number seventy-eight on the Billboard 200, failing to exceed the chart success of Being There.^[16] However, it was their first album to chart in the top forty in the United Kingdom.^[17] As of 2003, it had sold only 200,000 copies.^[18] The album placed eighth on the Pazz & Jop critics' poll for 1999, and Pitchfork gave it position thirty-one in its list of the best albums of the 1990s.^[19][20]

Jason Ankeny of Allmusic gave the album five stars, lauding its "lush string arrangements and gorgeous harmonies." Ankeny also compared the music on the album to The Band in their prime.^[21] Pitchfork Media writer Neil Lieberman praised how Wilco "craft[ed] an album as wonderfully ambiguous and beautifully uncertain as life itself," and how Bennett "paint[ed] the album in Technicolor."^[22] Robert Christgau gave the album a two star honorable mention, calling it "old-fashioned tunecraft lacking not pedal steel, who cares, but the concreteness modern popcraft eschews."^[23] Chicago Tribune critic Greg Kot championed the album on his review of the album and ranked it the year's best album, calling it "pop so gorgeous it belies the intricate studio experimentation that brought it to life."^[24][25]

Track listing [link]

1. "Can't Stand It" (Tweedy, Bennett) – 3:46
2. "She's a Jar" (Tweedy, Bennett) – 4:43
3. "A Shot in the Arm" (Tweedy, Bennett, Stirratt) – 4:19
4. "We're Just Friends" (Tweedy, Bennett, Stirratt) – 2:44
5. "I'm Always in Love" (Tweedy, Bennett) – 3:41
6. "Nothing'severgonnastandinmyway(again)" (Tweedy, Bennett, Stirratt) – 3:20
7. "Pieholden Suite" (Tweedy, Bennett) – 3:26
8. "How to Fight Loneliness" (Tweedy, Bennett) – 3:53
9. "Via Chicago" (Tweedy) – 5:33
10. "ELT" (Tweedy, Bennett) – 3:46
11. "My Darling" (Tweedy, Bennett) – 3:38
12. "When You Wake Up Feeling Old" (Tweedy) – 3:56
13. "Summer Teeth" (Tweedy, Bennett) – 3:21
14. "In a Future Age" (Tweedy, Bennett) – 2:57

Hidden tracks

1. Untitled (silence, hidden track) – 0:23
2. "Candyfloss" (hidden track) (Tweedy, Bennett) – 2:57
3. "A Shot in the Arm" (alternate version, hidden track) (Tweedy, Bennett, Stirratt) – 3:54

Bonus disc ("And Sum Aren't") Track listing [link]

1. "I Must Be High"
2. "Pick Up the Change"
3. "Passenger Side"
4. "Monday (Demo Version)"
5. "I Got You (At the End of the Century)"
6. "Hotel Arizona"
7. "Outtasite (Outta Mind) - Live"
8. "Someone Else's Song"
9. "Red Eyed and Blue - Live"
10. "Box Full of Letters - Live"
11. "Why Would You Wanna - Live"
12. "Forget The Flowers - Live"
13. "The Lonely 1"
14. "Sunken Treasure - Live"
15. "At My Window Sad and Lonely"
16. "Blasting Fonda - non album track"

Personnel [link]

• Jeff Tweedy – vocals, guitar, synthesizer, bass guitar, harmonica, tambourine, backing vocals
• Jay Bennett – organ, synthesizer, banjo, percussion, piano, drums, guitar, keyboards, tambourine, bells, lap steel guitar, backing vocals
• John Stirratt – bass guitar, backing vocals
• Ken Coomer – drums, timpani
• Leroy Bach – piano
• Dave Crawford – trumpet
• Mark Greenberg – vibraphone
• Mitch Easter, Chris Grainger, Larry Greenhill, Mike Hagler, Russ Long, David Trumfio – engineers
• David Kahne, Jim Scott – mixing
• Mike Scotella – mixing assistant
• Steve Chadie – assistant engineer
• Lawrence Azerrad – artwork, graphic design

Notes [link]

References [link]

• Kot, Greg (2004). Wilco: Learning How to Die (1st ed. ed.). New York City, NY: Broadway Books. ISBN 0-7679-1558-5. 

External links [link]

• Jeff Tweedy interview with Salon about the album