—‘The voices were so eerie,’ Jeff Tweedy said, explaining the attraction, ‘like a long dead ghost trying one more time to make contact.’

Page 61, 62, Tweedy, Jeff. ‘Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.’ (Faber & Faber, 2018)

—‘…These solitudes exist so apart from each other in this sea of white noise and information,’ he told Wilco biographer Greg Kotf, ‘and the beautiful thing is they keep transmitting to each other in the hope that somebody is going to find them.’

Page 194, Kot, Greg. Wilco: Learning How to Die (Random House, 2004)

—’The way people communicated or ultimately failed to communicate in The Conet Project,’ he wrote in his autobiography, ‘it’s not all that different to me than my own efforts to communicate.’

Page 63, Tweedy, Jeff. ‘Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.’ (Faber & Faber, 2018)

—-Former Reprise executive Gary Briggs: ‘I’ve heard song demos of [Jeff’s] and said, “God, that is built for radio, Jeff!”’.

Page 231, Kot, Greg. Wilco: Learning How to Die (Random House, 2004)

—Wilco had transplanted operations to their own creative working-cum-living space, a 4,000 square-metres loft space on the Northwest Side of Chicago, kitted out with multiple mixing desks and a shower and staffed by engineers.

Page 168, Kot, Greg. Wilco: Learning How to Die (Random House, 2004)

—How exactly do you know to run Stravinsky back through a synthesiser, as the band did for a section on [‘Heavy Metal Drummer’].

Page 159, Kot, Greg. Wilco: Learning How to Die (Random House, 2004)

—-‘Maybe the camera’s like a fly on the wall but it's a type of fly that you always know is there and you can't stop thinking about it,’ he wrote in [let’s go so we can get back again].

Page 180, Tweedy, Jeff. ‘Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.’ (Faber & Faber, 2018)

—-Tweedy also wondered if the cameras impacted Jay Bennett’s behaviour in the studio. ‘(He) liked to see himself as a bit of a mad scientist in the studio… the cameras seemed to be pushing him toward that idea of himself to the exclusion of all other aspects of his personality.’. Bennett created an atmosphere of paranoid in the studio, Tweedy later wrote, talking about bandmates behind their back. When he and Jeff Tweedy were alone he even suggested they complete the album without the rest of the band.

Page 81, 82, 83, 84, Tweedy, Jeff. ‘Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.’ (Faber & Faber, 2018)

—As Jay Bennett described it, ‘It was a freaky, fucked-up song, and he made sense out of it.’

Page 198, Kot, Greg. Wilco: Learning How to Die (Random House, 2004)

—‘It was a choice of making a record we didn’t like and not making any money,’ Tweedy later reflected, ‘or making a record that we loved and not making any money.’

Page 80, Tweedy, Jeff. ‘Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.’ (Faber & Faber, 2018)

—Jeff Tweedy has said the original 911 release date would have led to the album being pulled off shelves.

Page 91, Tweedy, Jeff. ‘Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.’ (Faber & Faber, 2018)

—‘When you're Jay Bennett or whomever and you leave a band you have to start over…You’re going back to playing for 35 people, 100 people.’

I Am Trying to Break Your Heart. Directed by Sam Jones, (Cowboy Pictures, Plexifil, 2002)

—‘It was hard to be surprised, but that didn’t make it any less heartbreaking,’ Jeff Tweedy said, before adding a fitting tribute: ‘ I wouldn’t have been surprised to see him onstage with Jackson Browne or Elton John or even Paul McCartney. He would have made almost any band better if he’d been able to get help.’

Page 89, Tweedy, Jeff. ‘Let's Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, etc.’ (Faber & Faber, 2018)