guiny, el tee, you each want a copy of damien rice?
ryan adams...
I went to the Philly show Saturday night. He played a couple versions of the same song – but the crowd didn't react bad. Not that he would have known, he was sooo messed up. The Philly show was good. There was a bit of a fight between him and the drummer at the end after Ryan jumped up on the drums and then started tossing drum kit parts at the drummer. I also thought he started cold in Philly and then eased into a better set. I did get to hear an interesting version of suspicious minds and Brown sugar in his encore…
I am actually friends with Joe Heim, but I must admit that that review is terrible.
Reverse everything that was said and it starts to capture what happened at the show.
Reverse everything that was said and it starts to capture what happened at the show.
Originally posted by allmy$to930:I thought that also…he calls him a mimic, but then says he prefers the more derivative material. For me, the standout portion of the show was the solo acoustic.
I am actually friends with Joe Heim, but I must admit that that review is terrible.
Reverse everything that was said and it starts to capture what happened at the show.
I think he also got the final encore song wrong - I believe they played "So Alive" after they turned the lights back off.
Deadlines…
Originally posted by grotty:I think it was "So Alive" as well.
Originally posted by allmy$to930:I thought that also…he calls him a mimic, but then says he prefers the more derivative material. For me, the standout portion of the show was the solo acoustic.
I am actually friends with Joe Heim, but I must admit that that review is terrible. Reverse everything that was said and it starts to capture what happened at the show.
I think he also got the final encore song wrong - I believe they played "So Alive" after they turned the lights back off.
Deadlines…
The picture of him in the article, funny, he looks like Jimmy Fallon.
"A rock-star accident just waiting to happen." Cracks me up.
Originally posted by lily1:Thanks for the offer lily, I have one.
guiny, el tee, you each want a copy of damien rice?
I was going to post link to a review by Pitchfork before the show…just now getting to it:
http://www.pitchforkmedia.com/record-reviews/a/adams_ryan/rock-n-roll.shtml
I read a decent interview with Adams in Blender. I'll post if I find it. (Yes, Blender sucks. The copy belongs to my roommate).
http://www.pitchforkmedia.com/record-reviews/a/adams_ryan/rock-n-roll.shtml
I read a decent interview with Adams in Blender. I'll post if I find it. (Yes, Blender sucks. The copy belongs to my roommate).
Thought y'all might be interested in the NY Times review of that show:
December 10, 2003
MUSIC REVIEW | RYAN ADAMS
Moving Along the Timeline of Rock
By JON PARELES
Ryan Adams is moving forward in his self-guided tour through rock history: between 5 and 20 years, to judge by his concert at Webster Hall on Dec. 4.
As the songwriter for Whiskeytown and on his first solo albums, Mr. Adams generally placed himself in the late 1960's and early 70's, the dawn of what's now called roots-rock. His music harked back to, and often directly imitated, songs from the Band, Gram Parsons and Van Morrison.
New songs from his three recent releases - an album called "lloR N kcoR" and an EP, "Love Is Hell pt. 1" (there's also a "pt. 2," and all three are on Lost Highway) - have shifted the time line. He has a new batch of influences, among them the Replacements, T. Rex, the Strokes, Nirvana, Neil Young and U2. And he freely acknowledged it. When he explained that the concert would benefit the Bowery Mission and Housing Works, he joked that he was ``being Bono,'' then mentioned ``So Alive,'' his U2-style anthem.
Mr. Adams is a skillful chameleon, writing songs his sources would not disown. ``I could be anything,'' he sang in ``Love Is Hell,'' and listeners could believe it.
For the first part of the set, Mr. Adams made his voice as disheveled as his hair and joined his band's other two guitarists in distorted, choppy, satisfying riffs. In an older song, ``Nobody Girl,'' the band worked like the Grateful Dead, elongating the riffs and letting guitars and bass scamper after one another. Eventually, he picked up an acoustic guitar, turned his voice into a sweeter tenor and eased back into his older folk-rock
In any musical guise, Mr. Adams often portrays the same guy: someone whose romances keep crumbling, but who misses the strife as much as the affection. He also writes fine character studies, often of unhappy women, that are closely observed and genuinely sympathetic. Between songs, though, he was rarely earnest; he mocked his clothes, teased his band and his light crew, tossed off dialogue from ``Mommie Dearest'' and cited career conflicts: ``I nearly lost my record deal to play you my new songs,'' he sang in a brief polka.
The comedy wore thin, but the songs were full of life. Mr. Adams borrows wisely and works his way into his appropriated styles; the band's guitars could chime or jitter or snarl at will. The question is why someone as clearly gifted as Mr. Adams doesn't take the extra step of hiding his mimicry to aim for something he could call his own.
December 10, 2003
MUSIC REVIEW | RYAN ADAMS
Moving Along the Timeline of Rock
By JON PARELES
Ryan Adams is moving forward in his self-guided tour through rock history: between 5 and 20 years, to judge by his concert at Webster Hall on Dec. 4.
As the songwriter for Whiskeytown and on his first solo albums, Mr. Adams generally placed himself in the late 1960's and early 70's, the dawn of what's now called roots-rock. His music harked back to, and often directly imitated, songs from the Band, Gram Parsons and Van Morrison.
New songs from his three recent releases - an album called "lloR N kcoR" and an EP, "Love Is Hell pt. 1" (there's also a "pt. 2," and all three are on Lost Highway) - have shifted the time line. He has a new batch of influences, among them the Replacements, T. Rex, the Strokes, Nirvana, Neil Young and U2. And he freely acknowledged it. When he explained that the concert would benefit the Bowery Mission and Housing Works, he joked that he was ``being Bono,'' then mentioned ``So Alive,'' his U2-style anthem.
Mr. Adams is a skillful chameleon, writing songs his sources would not disown. ``I could be anything,'' he sang in ``Love Is Hell,'' and listeners could believe it.
For the first part of the set, Mr. Adams made his voice as disheveled as his hair and joined his band's other two guitarists in distorted, choppy, satisfying riffs. In an older song, ``Nobody Girl,'' the band worked like the Grateful Dead, elongating the riffs and letting guitars and bass scamper after one another. Eventually, he picked up an acoustic guitar, turned his voice into a sweeter tenor and eased back into his older folk-rock
In any musical guise, Mr. Adams often portrays the same guy: someone whose romances keep crumbling, but who misses the strife as much as the affection. He also writes fine character studies, often of unhappy women, that are closely observed and genuinely sympathetic. Between songs, though, he was rarely earnest; he mocked his clothes, teased his band and his light crew, tossed off dialogue from ``Mommie Dearest'' and cited career conflicts: ``I nearly lost my record deal to play you my new songs,'' he sang in a brief polka.
The comedy wore thin, but the songs were full of life. Mr. Adams borrows wisely and works his way into his appropriated styles; the band's guitars could chime or jitter or snarl at will. The question is why someone as clearly gifted as Mr. Adams doesn't take the extra step of hiding his mimicry to aim for something he could call his own.
Former WHAD hero Paul Westerberg on talentless star-fucking hackboy Ryan Adams: "I see his fuckin' haircut, I hear his fuckin' whine, I see his fake clothes, and then he opens his fuckin' mouth and all I want to do is smash the fucker's teeth down his throat." Y'know, we wrote Westerberg off years ago, but after hearing that priceless pearl of wisdom, we decided it was only fair to give his new Come Feel Me Tremble a listen. And whattaya know, it ain't bad! Go figure!http://www.rollingstone.com/news/newsarticle.asp?nid=19088
god bless, god bless, god bless Westerberg. Now if only his solo albums were relevant….(which, by the way, does NOT detract from his brilliance with the 'Mats).
Originally posted by ggwâ?¢:Now I'm beginning to see why Rhett worships Ryan Adams…they both bring out the best in people in a similar fashion.
talentless star-fucking hackboy Ryan Adams: "I see his fuckin' haircut, I hear his fuckin' whine, I see his fake clothes, and then he opens his fuckin' mouth and all I want to do is smash the fucker's teeth down his throat."
Get it right, Einstein. Or at least confer with GGW regarding what my likes and dislikes are. I've always said I thought Ryan Adams' solo stuff sucks.
Originally posted by mankie:
Originally posted by ggwâ?¢:Now I'm beginning to see why Rhett worships Ryan Adams…he brings out the best in people just like old RA.
talentless star-fucking hackboy Ryan Adams: "I see his fuckin' haircut, I hear his fuckin' whine, I see his fake clothes, and then he opens his fuckin' mouth and all I want to do is smash the fucker's teeth down his throat."
Fucking great. Thanks for sharing.
Choice cut: "Jeff Tweedy burns holes in his shoes by fucking staring at them…"
Choice cut: "Jeff Tweedy burns holes in his shoes by fucking staring at them…"
Originally posted by challenged:You're welcome. There's another one making the rounds currently where he defends the voice message, and un-invites the writer to his "kingdom".
Fucking great. Thanks for sharing.
Choice cut: "Jeff Tweedy burns holes in his shoes by fucking staring at them…"
The Ryan Adams debacle continues to unfold over the weekend live on Instagram…
Tripping on mushrooms, doing cocaine, rambling nonsense (yet, playing pretty decent music) for all to see!
Tripping on mushrooms, doing cocaine, rambling nonsense (yet, playing pretty decent music) for all to see!
Now that would be a 9/9 show!
Ryan Adams ticket holders issued refunds after 30-minute show in Fort Lauderdale