(Alternative Country-Rock, Chamber Pop) [CD] Lambchop - The Decline of Country & Western Civilization, Pt. 2: The Woodwind Years - 2006, FLAC (image+.cue), lossless

01. My Cliché (Kurt Wagner) 4:51
02. "Loretta Lung (Kurt Wagner) 3:19
03. Two Kittens Don't Make a Puppy (Excerpt) (Kurt Wagner) 2:04
04. It's Impossible (Kurt Wagner) 5:37
05. Ovary Eyes (Kurt Wagner) 3:10
06. I Can Hardly Spell My Name (Kurt Wagner) 3:40
07. The Scary Caroler (Kurt Wagner) 3:06
08. Your Life as a Sequel (Kurt Wagner) 4:21
09. Smuckers (Kurt Wagner) 2:02
10. Alumni Lawn (Kurt Wagner) 2:48
11. Burly and Johnson (Kurt Wagner) 3:28
12. Mr. Crabby (Kurt Wagner) 3:42
13. Playboy, The Shit (Kurt Wagner) 5:33
14. Gloria Leonard (Kurt Wagner) 4:44
15. The Old Fat Robin (Alternate Version) (Kurt Wagner) 5:18
16. The Distance from Her to There (Kurt Wagner) 4:05
17. The Book I Haven't Read (Curtis Mayfield / Kurt Wagner) 4:43
18. Gettysburg Address (Kurt Wagner) 5:59

Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 4. April 2017, 12:02
Lambchop / The Decline of Country & Western Civilization, Pt. 2: The Woodwind Years
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     Filename C:\Users\Alexandre\Downloads\Torrents of Autumn\Lambchop - The Decline of Country & Western Civilization, Pt. 2- The Woodwind Years\Lambchop [2006] The Decline of Country & Western Civilization, Pt. 2- The Woodwind Years.wav
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A compilation of single A and B sides and alternative takes, some of which were previously unreleased.

Touted as “Nashville’s most f*cked-up country band” by their label Merge Records, Lambchop was arguably the most consistently brilliant and unique American group to emerge during the 1990s. Their unclassifiable hybrid of country, soul, jazz, and avant-garde noise seemed at one time or another to drink from every conceivable tributary of contemporary music, its Baroque beauty all held together by the surreal lyrical wit and droll vocal presence of frontman Kurt Wagner. Although Lambchop’s ever-rotating roster would later expand to over a dozen members, the group formed in 1986 as a simple three-piece teaming Wagner, guitarist Jim Watkins, and bassist Marc Trovillion, former high school classmates already ten years removed from the educational system. Originally dubbed Posterchild, the trio made its earliest recordings in Trovillion’s bedroom, self-releasing a series of cassettes with titles such as “I’m F*cking Your Daughter.” In time, the lineup began to grow, and the band regularly performed live in and around the Nashville area, often at the area record shop, Lucy’s (not coincidentally owned by Wagner’s wife, Mary).
In 1992, Posterchild—now consisting of Wagner, Trovillion, guitarist Bill Killbrew, clarinetist Jonathan Marx, multi-instrumentalist Scott C. Chase, drummer Steve Goodhue, and percussionist Allen Lowery—released “An Open Fresca” + “A Moist Towlette,” a split single with friends Crop Circle Hoax. The 7" brought the group to the attention of entertainment lawyer George Regis, who issued cease-and-desist orders on behalf of his clients, the noise pop band Poster Children. After rejecting the names REN, Pinnacles of Cream, and Turd Goes Back, the band settled on Lambchop, added vocalist/saxophonist Deanna Varagona, steel guitarist Paul Niehaus, and organist John Delworth, and signed to Merge to release the 1993 single “Nine.” Their debut LP, I Hope You’re Sitting Down (aka Jack’s Tulips[), followed a year later. In many ways, this album would be the most conventional Lambchop record. Its Nashville origins and torch-and-twang ambience would saddle the band with the increasingly erroneous alt-country tag, although Wagner’s Lou Reed-like vocals and bizarre narrative conceits—in particular the fan-favorite "Soaky in the Pooper,” a vivid recounting of a bad LSD trip—immediately signaled their obvious distance from the likes of Uncle Tupelo or the Jayhawks.
The lovely How I Quit Smoking appeared in 1996 (although on the subsequent “Cigaretiquette” single, Wagner would proudly announce, “I’m smoking again”). Recorded live the previous Independence Day, the Hank EP followed later in 1996. Marking the debut of drummer Paul Burch, the disc represented the apotheosis of Lambchop’s Billy Sherrill-inspired phase, its lush production evoking the Nashville sound so popular three decades earlier, but by then completely passé among Music City’s chart superstars. 1997’s Thriller proved a major turning point; highlighted by the Muscle Shoals soul of “Your Fucking Sunny Day” and including no fewer than three songs penned by East River Pipe’s F.M. Cornog, this sprawling, difficult album introduced the uncompromising eclecticism that would dominate Lambchop’s work from here on out. The follow-up, 1998’s What Another Man Spills, upped the ante further. On remarkably soulful covers of Curtis Mayfield’s “Love Song (Give Me Your Love)” and Frederick Knight’s “I’ve Been Lonely for So Long,” Wagner’s baritone drawl even gives way to a Prince-like falsetto. That same year, the group also backed Vic Chesnutt on his album The Salesman and Bernadette.
Lambchop’s fifth full-length, Nixon, appeared in the spring of 2000. Supposedly a concept album exploring the presidency of the infamous Tricky Dick, Wagner even included a bibliography in the liner notes—a direct connection to the Watergate scandal remains unidentified. Though still criminally unknown at home, Lambchop enjoyed a much more substantial following overseas, and on May 13, 2000, they appeared at the London Royal Festival Hall. The gig was recorded and made available at U.K. appearances that fall as the Queens Royal Trimma limited-edition EP. (A 2001 European tour yielded the Treasure Chest of the Enemy EP.) The 2001 collection Tools in the Dryer assembled many of Lambchop’s scattered singles, compilation tracks, and remixes.
After recording the purposefully spare Is a Woman in 2002, Wagner and company moved on to their most ambitious project yet—two simultaneously released albums, Aw C’Mon and No, You C’Mon, in which Lambchop returned to full power and joined by a lush string section. The next year, the musically experimental EP CoLAB came out, followed in the spring of 2006 by The Decline of Country & Western Civilization, Pt. 2: The Woodwind Years, an eclectic collection of tracks that had never appeared before on Lambchop records, including one new song, “Gettysburg Address,” and a record of all-new material called Damaged later that summer. The year 2008 saw the release of the typically graceful and elegant OH (Ohio), followed in early 2012 by the group’s 11th full-length outing, the austere Mr. M., which offered up 11 lush, string-laden meditations on love and loss, all of which were dedicated to the late Vic Chesnutt. In 2015, Kurt Wagner introduced his electronic side project HeCTA, and elements of HeCTA’s eclectic musical approach informed Lambchop’s next project. FLOTUS (which Wagner says stands for “For Love Often Turns Us Still”) was released in October 2016. The following year, they released the single “The Hustle Unlimited,” an orchestral reworking of the FLOTUS track “The Hustle.” 2019’s This (Is What I Wanted to Tell You) found Lambchop doubling down on their atmospheric electronic side and Wagner’s auto-tuned vocals. 2020 saw the arrival of Trip, an LP of cover songs. (Jason, Ankeny, AllMusic)

Lambchop is a group that takes an obvious pride in working on a grand scale—this is a band that's swelled to as many as 16 members at times and in 2004 released two full-length albums on the same day—so it should come as no surprise that they've come up with more worthwhile material than they've found room for on their LPs. The Decline of Country & Western Civilization, Pt. 2: The Woodwind Years compiles 18 performances that otherwise haven't appeared on a Lambchop album: compilation appearances, B-sides, contributions to split singles, unreleased alternate takes, and one brand new number, "Gettysburg Address." No one familiar with Lambchop should be surprised that this compilation reflects the stylistic shape-sifting that's part of the group's raison d'etre; while the witty but cryptic lyrics and evocatively murmured vocals of leader Kurt Wagner are the glue that holds this set together, musically this disc runs the gamut from thundering guitar-powered rock enriched with horns and steel guitar ("The Scary Caroler"), the jazzy atonalities of "Burly and Johnson," and the muted trumpets and electronic treatments of "Two Kittens Don't Make a Puppy" to the shambolic but easygoing drift of "Ovary Eyes" and the white-bread soul strut of "Alumni Lawn." About the only thing that unites this stuff is that Lambchop is going to do what they want to do, and it's always going to be at least interesting, while the best music is wildly evocative and truly moving stuff. However, given the scattershot nature in which this was recorded, The Decline of Country & Western Civilization isn't especially cohesive, and a few tunes were clearly saved for B-sides because they weren't quite A-list material. Still, anyone who already loves Lambchop will find several reminders of why on this collection, and it'll tide over fans until Wagner and Company release their next major statement. (Mark Deming, AllMusic.com)

Except for Kurt Wagner (composer, guitarist, vocalist) the lineup varies from track to track, so please see the Album Insert for details.