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| | The New Yorker: The Critics: Musical Events (Site not responding. Last check: 2007-11-02) |
 | | Uncle Tupelo, the band Tweedy had started with his friend Jay Farrar, was something genuinely new, blending the rhythms and storytelling of traditional country with the mood and volume of punk, and evoking an imaginary America where the Carter Family, D. Boon, and J Mascis sat around a room making music together. |
 | | At the time, the consensus was that Tweedy, though talented, was the lesser of the band's two songwriters, a poppier understudy to the visionary Farrar, who, even as a young man, had an air of solemn authority about him. |
 | | The bizarre thing about this was that Tweedy had written lyrics for a very different album, a brutal portrait of the fatigue, emotional violence, and anomie that can arise in a relationship, only to bury them beneath studio frippery. |
| www.newyorker.com /critics/music?020610crmu_music (1119 words) |
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