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I'd never heard Don't Get Sentimental On Me before. That's a fucking brilliant song. Thanks for posting that. I need to find flacs or mp3s of all his "unreleased" material.
I'd never heard Don't Get Sentimental On Me before. That's a fucking brilliant song. Thanks for posting that. I need to find flacs or mp3s of all his "unreleased" material.
There is a studio version of Don't Get Sentimental On Me from those Elizabethtown sessions out there. I prefer that live version though...
I'd never heard Don't Get Sentimental On Me before. That's a fucking brilliant song. Thanks for posting that. I need to find flacs or mp3s of all his "unreleased" material.
There is a studio version of Don't Get Sentimental On Me from those Elizabethtown sessions out there. I prefer that live version though...
Obviously, I've never heard the studio cut. And I don't want to. The version you posted is perfect.
1. Wild Flowers 4:48 2. Perfect And True 3:20 3. Tell It To My Heart 3:33 4. She Wants To Play Hearts 4:13 5. Pretenders 3:07 6. Famous Eyes 2:28 7. Touch, Feel & Lose 3:57 8. Firecracker 3:11 9. La Cienega Just Smiled 3:34 10. For No One [f.k.a Long And Sad Goodbye] 3:58 11. You Don't Know Me 4:28 12. Bow To The Sad Lady [n.k.a Mara Lisa] 4:04 13. Off Broadway 3:52 14. Cracks In A Photograph 4:12 15. I'm Wating 3:13 16. Cry On Demand 4:35 17. Miss Sunflower 4:49 18. Just Saying Hi [n.k.a Answering Bell] 3:25 19. My California Love 2:39 20. Idiots Rule The World 3:51 21. Dear Chicago 2:30
Code:
Notes: From an interview with Ryan in Harp Magazine on November 01, 2002, http://www.ryanadamsonline.com/interviews/81.html:
Q: You did another Nashville session before _Gold_ was recorded, and there were rumours that you were going to release an album called _The Suicide Handbook_. But some of those tunes ended up here as well.
RYAN: Yeah. I'd decided that I needed to get out of Nashville for a little while, so I packed up my acoustic guitar, went out to L.A. and holed up in a hotel room. I hung out with Ethan [Johns, producer, engineer, mixer, musician, for _Gold_, _Heartbreaker_] and just started writing on guitar. I remember I went out to his dad's place, to Glyn [Johns, engineer, producer for The Beatles, Led Zeppelin, The Who, others]'s place, one night for dinner out in Malibu. Ethan brought a little guitar, and I showed him "Touch, Feel & Lose" and a couple other songs, and he was like, man, you're on to something. Keep writing, keep this guitar.
When I went back to [Nashville], I was really stressed out. I had a lot of personal things going on that were more than I could handle. Everyone was worried about me. I'd lost all this weight; there was a lot of Seconol involved. It was just a real bad time.
I called up [Lost Highway executive] Frank [Callari] and said, Man, I think I really need to go into the studio. So Bucky [Baxter] and I decided to go into Javelina [Studios], which was RCA Two, Chet Atkins' room. We had one microphone, and I taught Buck the songs right before we played them. We did the original version of "Answering Bell," which was called "Just Saying Hi" with different words. We did it all in one day, 21 tunes.
On stuff like "She Wants to Play Hearts," I can hear now painful a time I was having. If it had come out, if _Suicide Handbook_ had been the follow-up to _Heartbreaker_, things would be very different, because it was very much a record obsessed with the things that Heartbreaker was.
_________________ When the sadness in you meets the sadness in me let's start changing our lives.
1. Wild Flowers 4:48 2. Perfect And True 3:20 3. Tell It To My Heart 3:33 4. She Wants To Play Hearts 4:13 5. Pretenders 3:07 6. Famous Eyes 2:28 7. Touch, Feel & Lose 3:57 8. Firecracker 3:11 9. La Cienega Just Smiled 3:34 10. For No One [f.k.a Long And Sad Goodbye] 3:58 11. You Don't Know Me 4:28 12. Bow To The Sad Lady [n.k.a Mara Lisa] 4:04 13. Off Broadway 3:52 14. Cracks In A Photograph 4:12 15. I'm Wating 3:13 16. Cry On Demand 4:35 17. Miss Sunflower 4:49 18. Just Saying Hi [n.k.a Answering Bell] 3:25 19. My California Love 2:39 20. Idiots Rule The World 3:51 21. Dear Chicago 2:30
Code:
Notes: From an interview with Ryan in Harp Magazine on November 01, 2002, http://www.ryanadamsonline.com/interviews/81.html:
Q: You did another Nashville session before _Gold_ was recorded, and there were rumours that you were going to release an album called _The Suicide Handbook_. But some of those tunes ended up here as well.
RYAN: Yeah. I'd decided that I needed to get out of Nashville for a little while, so I packed up my acoustic guitar, went out to L.A. and holed up in a hotel room. I hung out with Ethan [Johns, producer, engineer, mixer, musician, for _Gold_, _Heartbreaker_] and just started writing on guitar. I remember I went out to his dad's place, to Glyn [Johns, engineer, producer for The Beatles, Led Zeppelin, The Who, others]'s place, one night for dinner out in Malibu. Ethan brought a little guitar, and I showed him "Touch, Feel & Lose" and a couple other songs, and he was like, man, you're on to something. Keep writing, keep this guitar.
When I went back to [Nashville], I was really stressed out. I had a lot of personal things going on that were more than I could handle. Everyone was worried about me. I'd lost all this weight; there was a lot of Seconol involved. It was just a real bad time.
I called up [Lost Highway executive] Frank [Callari] and said, Man, I think I really need to go into the studio. So Bucky [Baxter] and I decided to go into Javelina [Studios], which was RCA Two, Chet Atkins' room. We had one microphone, and I taught Buck the songs right before we played them. We did the original version of "Answering Bell," which was called "Just Saying Hi" with different words. We did it all in one day, 21 tunes.
On stuff like "She Wants to Play Hearts," I can hear now painful a time I was having. If it had come out, if _Suicide Handbook_ had been the follow-up to _Heartbreaker_, things would be very different, because it was very much a record obsessed with the things that Heartbreaker was.
I miss crazy, obsessed with writing Ryan. He hasn't been up to much since he debuted those boring new songs that he must have scrapped after he saw all the yawns..... at least I haven't heard anything.
Blaming Adams' recent dullness entirely on Mandy Moore is a bit of a stretch--I think the songs on Cardinology were subpar because the songwriting was subpar, not because they were informed thematically by Adams' personal life (it's worth noting that some of them-- "Crossed Out Name" in particular--were about as fundamentally miserable as Adams songs come), and I kind of feel the same way about Ashes & Fire. The difference is that Cardinology was another in a long line of Adams' one-shot genre experiments (in this case, '80's arena-rock), which made it feel like a relatively natural progression, where Ashes felt--to its detriment--like an attempt to reconcile with the expectations of the majority of critics, who've determined that not much Adams has done after Heartbreaker is of any worth (or, at least, that it's not as good). The fact that most of the songs were boring isn't a surprise; Adams isn't the same guy who wrote Heartbreaker, and in the years since it's become clear that a large part of what makes him such an intriguing artist is his eccentricity. It's a tired comparison, but he really does seem to be this generation's Neil Young--just as erratic, irascible, and committed to a rough and spontaneous writing and recording process--and to that end Ashes is kind of like his Prairie Wind--neat, controlled, and utterly predictable, it's a pleasant enough regression to Adams' typecast "sound" (i.e. downtempo acoustic songs), but ultimately nowhere near as interesting as the stuff where he really lets his creativity flow unhinged.
I won't be surprised if the next album is another complete 180; that's just who Adams is, bachelor or no. Whether it'll be sufficiently "sad" I think is kind of irrelevant--I'm way more interested in discovering if the songs are any good.
Last edited by Blaine Ryan on Mon November 25, 2013 9:27 am, edited 2 times in total.
Blaming Adams' recent dullness entirely on Mandy Moore is a bit of a stretch--I think the songs on Cardinology were subpar because the songwriting was subpar, not because they were informed thematically by Adams' personal life (it's worth noting that some of them-- "Crossed Out Name" in particular--were about as fundamentally miserable as Adams songs come) and I kind of feel the same way about Ashes & Fire. The difference is that Cardinology was another in a long line of Adams' one-shot genre experiments (in this case, '80's arena-rock), which made it feel like a relatively natural progression, where Ashes felt--to its detriment--like an attempt to reconcile with the expectations of the majority of critics, who've determined that not much Adams has done after Heartbreaker is of any worth (or, at least, that it's not as good). The fact that most of the songs were boring isn't a surprise; Adams isn't the same guy who wrote Heartbreaker, and in the years since it's become clear that a large part of what makes him such an intriguing artist is his eccentricity. It's a tired comparison, but he really does seem to be this generation's Neil Young--just as erratic, irascible, and committed to a rough and spontaneous writing and recording process--and to that end Ashes is kind of like his Prairie Wind--neat, controlled, and utterly predictable, it's a pleasant enough regression to Adams' typecast "sound" (i.e. downtempo country songs), but ultimately nowhere near as interesting as the stuff where he really lets his creativity flow unhinged.
I won't be surprised if the next album is another complete 180; that's just who Adams is, bachelor or no. Whether it'll be sufficiently "sad" I think is kind of irrelevant--I'm way more interested in discovering if the songs are any good.
I don't think the fact that he's not a sad bastard anymore is the reason the music has been bland, its more of a time and effort thing. This guy worked non stop from about 2002 to 06, with the output being fairly diverse and often brilliant. But that's what happens when you dedicate every waking hour to something. Cardiology was actually somewhat interesting to me, its faults probably had more to do with his eventual struggles steering the 'cardinals' where he needed them to go. Ashes and Fire is just boring..... the songs he débuted live following that tour were even worse. You have to fight with these things even harder as you get older as a songwriter. And well, when your coming home to this every night what's the big rush:
What the guy needs to do if he insists on being boring is release Black hole, which was supposedly pressed and mastered a long time ago. I would be much more agreeable to putting up with some Glyn Johns produced obviousness if I heard the album in the can from the post Love is Hell period that has been sitting on the shelf.
Blaming Adams' recent dullness entirely on Mandy Moore is a bit of a stretch--I think the songs on Cardinology were subpar because the songwriting was subpar, not because they were informed thematically by Adams' personal life (it's worth noting that some of them-- "Crossed Out Name" in particular--were about as fundamentally miserable as Adams songs come) and I kind of feel the same way about Ashes & Fire. The difference is that Cardinology was another in a long line of Adams' one-shot genre experiments (in this case, '80's arena-rock), which made it feel like a relatively natural progression, where Ashes felt--to its detriment--like an attempt to reconcile with the expectations of the majority of critics, who've determined that not much Adams has done after Heartbreaker is of any worth (or, at least, that it's not as good). The fact that most of the songs were boring isn't a surprise; Adams isn't the same guy who wrote Heartbreaker, and in the years since it's become clear that a large part of what makes him such an intriguing artist is his eccentricity. It's a tired comparison, but he really does seem to be this generation's Neil Young--just as erratic, irascible, and committed to a rough and spontaneous writing and recording process--and to that end Ashes is kind of like his Prairie Wind--neat, controlled, and utterly predictable, it's a pleasant enough regression to Adams' typecast "sound" (i.e. downtempo country songs), but ultimately nowhere near as interesting as the stuff where he really lets his creativity flow unhinged.
I won't be surprised if the next album is another complete 180; that's just who Adams is, bachelor or no. Whether it'll be sufficiently "sad" I think is kind of irrelevant--I'm way more interested in discovering if the songs are any good.
I don't think the fact that he's not a sad bastard anymore is the reason the music has been bland, its more of a time and effort thing. This guy worked non stop from about 2002 to 06, with the output being fairly diverse and often brilliant. But that's what happens when you dedicate every waking hour to something. Cardiology was actually somewhat interesting to me, its faults probably had more to do with his eventual struggles steering the 'cardinals' where he needed them to go. Ashes and Fire is just boring..... the songs he débuted live following that tour were even worse. You have to fight with these things even harder as you get older as a songwriter. And well, when your coming home to this every night what's the big rush:
What the guy needs to do if he insists on being boring is release Black hole, which was supposedly pressed and mastered a long time ago. I would be much more agreeable to putting up with some Glyn Johns produced obviousness if I heard the album in the can from the post Love is Hell period that has been sitting on the shelf.
I like Cardinology too, and think it's got a lot more to offer than the common word on it suggests (I'm no fan of the sterile production and Adams' annoying, warbling vocal performances, but I think the songs themselves are pretty consistently good). I just meant that, comparatively, it was a bit of a letdown. But I'd take it over Ashes any day of the week, for sure.
I'm definitely stoked to hear Blackhole. I think Love is Hell and 29 are both marvelous albums, so the prospect of Adams releasing something new along the same lines is pretty enticing.
I think Love is Hell and 29 are both marvelous albums
Those are my two favorite Ryan Adams albums by a pretty wide margin.
Cold Roses will always be tops for me but he's never topping the CR, Jacksonville City Nights, 29 and Love is Hell run he went on. That stretch of output is pretty unfuckable with and one of the musical highlights of the 2000's for me.
I probably need to revisit "Cold Roses" and "Jacksonville City Nights"--I was pretty disappointed in both of them at the time but seeing how they've come to be regarded over the years makes me feel like my young, undisciplined ears probably missed something key. My interest in Ryan Adams was always pretty casual--and I lost track of him completely after "29"--but his best stuff really is pretty special. I always thought he was a better singer than he got credit for.
I probably need to revisit "Cold Roses" and "Jacksonville City Nights"--I was pretty disappointed in both of them at the time but seeing how they've come to be regarded over the years makes me feel like my young, undisciplined ears probably missed something key. My interest in Ryan Adams was always pretty casual--and I lost track of him completely after "29"--but his best stuff really is pretty special. I always thought he was a better singer than he got credit for.
For what it's worth, I'd recommend it, KD. Cold Roses in particular is one of my favorite albums of the '00's.
I will make it a point to do that. I don't know a lot about the Ryan Adams "story," but I always got the impression that Ryan thought the Cardinals gave more creatively to his music than they really did, that they were a backing ensemble in the vein of the Bad Seeds or the Attractions or the E Street Band, when really they were a group of capable studio musicians that he managed to keep signed on for multiple albums in a row and coerce out onto the road. That may not be the case in reality, but I remember when "29" came out feeling like, "Finally, those bozos are out of his way and the spotlight is back on his songs and voice." I remember thinking "Jacksonville City Nights" in particular was just a totally mediocre genre exercise, salvaged only by Ryan's wonderful singing and the disproportionate number of songs in waltz time. But that was 7-8 years ago, and my tastes then were even worse then than they are now, so I will pay those records a return visit someday soon.
Joined: Wed February 06, 2013 2:47 am Posts: 17536 Location: Scooby Doo
There's an amazing 12 track album in Cold Roses. JCN had about 5 good tracks and 29 never really hit home for me. HB, Gold and the 4-5 unreleased albums that made Demolition with Love is Hell is the amazing run for me. In fact 48 hours probably gets the most airplay for me.
Ashes and Fire holds a dear place for me as my son used to relax and fall asleep to it when he was a few months old. That album and the I Am Sam ST. Ashes has 4-5 great tracks and the rest is a bit lacklustre. But as I said its special to me.
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