Late To The Party 4: Ryan Adams - III/IV

So.

The prior installment of Late To The Party included a brief summary of Ryan Adams' catalog.  Each of Adams' 18 releases was given a concise and perhaps offensively laconic synopsis.  Regardless of my inefficiency, hopefully my admiration for the singer/songwriters' work was made quite apparent.

And even if more than three persons read the prior blog post I would most likely continue in my vain self deprecating manner...

Now.

Ryan Adams' III/IV.  I previously mentioned that this particular record inspired my sophomoric feature of Mr. Adams' ouevre.  III/IV is a double album consisting of songs written/recorded during sessions that would yield his fantastic 2007 release Easy Tiger.  The title is referential to Adams' earlier double album Cold Roses which logically represents records I and II.  Contrasting with Cold Roses, the subject matter of III/IV marks a period in which Mr. Adams was living a sober lifestyle.  The III/IV album also represents a stylistic reversal with its predominant rock flavor compared with Cold Roses' acoustic roots character.

III/IV was released in 2010 on PAX AM Records and allegedly was rejected by Adams' then current record label Lost Highway.  I do not wish to speculate as to why this was the case.  Rather, I want to highlight the fantastic musicianship provided by The Cardinals: the rock solid Brad Pemberton on drums, the fantastic and then new addition of Neal Casal on guitar, the wonderful Catherine Popper on bass, the ever reliable Jon Graboff on pedal steel guitar, and the talented, diverse Jamie Candiloro on keyboards who also produced the record.  III/IV contains beautifully crafted dense material that I find truly inspiring.  It is wonderfully arranged and is concocted with timbres that are nigh impossible to improve upon in my opinion.  And now I will dive into a short inventory of the album's tracks (I've starred personal favs):

Side 1:

• Breakdown Into The Resolve - A chronicle of the inevitability of bad decisions and its persistent cycle, love the half time breakdown outro
• Candy* - A farewell letter to cocaine it seems, insanely awesome groove, beautiful background vocals on choruses
•  Wasteland* - A lamenting description of the destruction left in the wake of a drug addict, again beautiful background vocals and love the bridge breakdown
• Ultraviolet Light* - This tune seems to describe the unrelenting pull of what I can only imagine is heroin addiction, an appropriate lazy groove and the first appearance of acoustic guitar accompany
• Stop Playing With My Heart* - Love, love, love this tune, a perfect song; it captures the exhaustion that results from a rocky relationship and could be interpreted as metaphor for addiction; fantastic grooves, infectious melodies, and hooky guitar lines are included
• Lovely and Blue - A tune seemingly about letting go, awesome rhythmic hooks throughout
• Happy Birthday - A song that captures the shame and embarrassment of being a drug addicted fuck up, exceptionally great guitar tones and awesome synth hook
• Kisses Start Wars - Another tune about the battle of addiction
• The Crystal Skull - Seemingly a story about going out and partying with "Scarlet" at "The Crystal Skull" which I can only imagine is a euphemism for cocaine, another lazy acoustic number
• Users - This one appears to convey that "users" can get over their problems and chronicles the contrasting head space of a sober lifestyle, awesome groove and great verse riff

Side 2:

• No* - I absolutely love the chorus of this song, combining pain with triumph, some sludgy riffs and nice driving figures
• Numbers - The recklessness and emotional roller coaster ride of being a drunk is the focus of this punk infused tune
• Gracie* - This one is a real heartbreaker, I imagine it is remembering a special relationship that may have revolved around drugs
• Icebreaker - A quick rocker that captures the icy feeling of being isolated by drug addiction
• Sewers At The Bottom of The Wishing Well* - This one grooves hard, lots of 'tude and contrasting parts that underlay a self deprecating mindset
• Typecast* - Possibly my absolute fav on the record, sounds like a laid back Steely Dan tune, it should be against the law to compose a song as groovy as this; it is concerned with replaying an unwanted role in the game of love; Norah Jones (love of my life) features on backgrounds
• Star Wars - Who says there isn't room for a juvenile rocker on each record, awesome chorus groove
• My Favorite Song* - Love this one as it seems ambiguous to me as many a great tune are, I think that is probably the point of the tune as it seems to be about the relationship between songwriter and song, despite my potential misinterpretation the tune has great feel all around
• P.S.* -A song about apologizing and confronting the imperfections of personality, wonderful vocal performance
• Death And Rats - This one seems to be about looking back on the folly of youth and being distracted by the glamorous surface, specifically that of New York City as the lyrics might suggest; the light hearted feel contrasts well with the lamenting subject matter
• Kill The Lights - The final tune of the record continues with the romanticism of New York City where Adams has spent a significant amount of time, this one rocks hard but then changes gear midway through where The Cardinals get all Grateful Dead on ya

And there you have it.  Until next time...

Ryan Adams III/IV iTunes
Ryan Adams III/IV on Spotify

Ty

Late To The Party 3 - Ryan Adams/Whiskeytown

Okay.

I am back.

I know it has been awhile, apologies for my inattentive and procrastinating nature.

So.  Ryan Adams.  I'm a fan.  In my opinion Mr. Adams is one of the more important songwriters of our modern music era, whatever that means.  He got his start in the mid 90's (can't go wrong there) with the alt-country outfit Whiskeytown when that style was all the rage.  Coming out of Raleigh, North Carolina, Whiskeytown garnered critical acclaim and became a staple to the genre that also claimed Uncle Tupelo; a band that included members Jay Farrar and Jeff Tweedy who parted ways to form Son Volt and Wilco respectively (I'll save that for a future blog).  Anyway, despite Whiskeytown's success, the group had difficulty retaining its members, aside from Ryan Adams and other staple Caitlin Cary.  Suffice to say, Adams may not have been the easiest dude to get along with. 

Adams' solo career has been quite a prolific one.  In the span of the last thirteen years, there have been thirteen full length L.P.'s released by the singer-songwriter (including two double albums among the catalog) and five E.P.'s.  Here is my brief synopsis of his oeuvre:

Heartbreaker (2000) - a sensitive/reckless folksy masterpiece, essential Ryan Adams

Gold (2001) - a quintessential record of the singer-songwriter genre that became so trendy during last decade, this is the one that got me hooked

Demolition (2002) - here we get a little taste of Adams' punky 'tude sprinkled in with his familiar country tinged sound

Rock 'N Roll (2003) - this time we get the full rock treatment; electric, driving, and a little angry

Love Is Hell (2004) - I'm going to go ahead and call this one his Leonard Cohen phase, I may be off base on that description, for me it is something in the tone of his voice and the blunt dreariness that I perceive, haven't listened to this one too often but it is dark and intensely contemplative as far as I can tell and is concerned with the woes of romance and drinking/drugs

The Rescue Blues E.P. (2004) -  don't have much knowledge of this release, I assume it has b-sides from Gold or contains the bonus tracks that were packaged with the special edition of said L.P.

Moroccan Role E.P. (2004) - a quick rocker in the vain of Rock 'N Roll, appropriate as the title would naturally suggest

Cold Roses (2005) - this double album remains a personal fav, capturing what I will call his Grateful Dead phase which is apparent with the Jerry-esque guitar tones and free love/weary traveler vibe, the song Rosebud is in fact a song about Jerry Garcia's guitar displayed in the Rock & Roll Hall of Fame (OHIO! Cleveland for life!), and during this time Adams also played several shows as a member of the Phil Lesh & Friends group

Jacksonville City Nights (2005) - here we find Adams continuing in the stripped back, loose country vibe that was the focus of the previous record, another favorite

29 (2005) - we complete the trifecta of psychedelia tinged country records with this third 2005 release, though this one is heavy on the ballads and story-based songwriting

Easy Tiger (2007) - many fans may consider this record to be the opus, it contains some of Adams' most popular tunes, the production value is stellar with a superbly crisp sound, and particularly articulate lyrical content probably due to the ceasing of his drug abuse

Follow The Lights E.P. (2007) - I've got a soft spot for this record, it continues with the distinctly coherent style of the previous record and imparts a very soothing vibe

Cardinology (2008) - this release showcases well the range and scope of Adams' style, from tender, personal, and sensitive to groovy, rockin', sass; a great record that displays his maturity developed over the years

Extra Cheese E.P.  (2009) - another one that I don't own, though my research reveals that this was simply an iTunes exclusive containing previously released tracks for Valentine's Day

Orion (2010) - this record was a heavy rock/metal project released only on vinyl and again I have never heard it, fans of Ryan Adams will most likely be aware of his outspoken affinity for 80's hair bands and this record was made specifically in tribute to the band Voivod and guitarist Denis D'amour

III/IV (2010) - originally my inspiration for this blog post, this record is a double album of material recorded during the Easy Tiger sessions, it is so musically and lyrically dense that I am going to just do a seperate post on this guy

Class Mythology E.P. (2011) - a limited edition Record Store Day vinyl release that I unfortunately do not own and have not had the pleasure of hearing

Ashes & Fire (2011) - Adams' most recent release is quite mellow and calming, I would say that this is his most seasoned effort to date

As should be prevalent, Ryan Adams is certainly prolific as I mentioned before.  His vast catalog displays that Mr. Adams is an artist that does not know how to slow down.  I am getting a bit lengthy here so I will save the rest for a future post.  Cheers to Ryan Adams and his wonderful music.  Happy listening to all those that are so inclined.

To be continued...

Ryan Adams on Spotify

Ryan Adams on iTunes

Late To the Party 2: Phish Pt. 1

Phish.

That is correct, I like them.  Very much.

I could go on and on for days about this band.  I know, many of you are saying, "Oh my god. Shut up," (and correspondingly close web browser).  In my opinion, the five most important artists/groups of the past 100 years include the following in no particular order: Miles Davis, The Beatles, The Band, Steely Dan, and.... Phish.  That's right I said it.  Don't worry, I'll get around to Steely Dan at a later time.

Phish's fiercely original take on songwriting and composition is unparalleled in popular music culture of the last... well, all of history as I see it.  They are followed by a rabid cult of a fan base that will travel the country over, neglecting the standard lifestyle of work and in most cases their responsibilities, but they are dedicated in the extreme nonetheless.  The sheer volume of people that embrace this "Phishy" way of life is impressive enough.

Phish originated in the Burlington, Vermont area in the early-mid 80's as a quirky progressive rock college band.  Since then they have become one of the most successful live acts to ever perform in the music business.  It is true that they followed in the steps of The Grateful Dead; embracing the bohemian/vagabond aesthetic and inheriting many fans as The Dead came to an abrupt halt in the mid 90's.

Phish became known and heralded for their live performances through the 1990's.  Their recording career, however, did not garner as much success or critical acclaim (not that there aren't harsh critics of their live shows either).  But no matter.  Thousands upon thousands, increasing to tens of thousands, showed up every night to witness the Phish brand of epic.  And this happened without the aid of commercial radio hits or any significant presence on MTV (remember when MTV actually was a legitimate barometer for what was popular in music?). Through much of the last decade of the 20th century, Phish could be seen playing sold out shows 4-6 nights a week when on tour.  Undeniably, these dudes care about one thing and one thing only: playing sublime live shows.

Personally, I started getting into Phish in '99 or so and I have only attended four of their concerts, all post 2009.  So you could say I am really, really, really late to this party.  But this party shows no signs of stopping, and many would say that Phish is better than ever.  Check out this video from their past New Year's Eve celebration at Madison Square Garden, New York City:

Skeptics of Phish should keep in mind that the band played FOUR SOLD OUT nights in a row leading up to the New Year's Eve show, which they have done several times over the years.

Among the many, many aspects of this fine band that I love is the fact that they will cover ANY song.  Quite literally.  Some telling examples are Jay-Z's Big Pimpin', Chumbawumba's Tubthumping, and Neil Diamond's Cracklin' Rosie.  Then there are the numerous bluegrass songs that have become staples in Phish sets like Old Home Place, Nellie Kane, and Beauty of My Dreams and also traditional gospel tunes like Daniel Saw The Stone and Paul and Silas.  These covers are placed into sets as both tributes to the artists who composed them and for the enjoyment of the "phans" and the band members. Take a gander at this massive, extensive list of covers Phish has performed throughout the years: Phish covers.

This post is beginning to get a bit lengthy, so I will have a second installment on Phish, possibly to some readers' chagrin.  Well, too bad.  But before I go, I would like to mention a Late To The Party bonus in relation to Phish.  Specifically, the opening song from the first set of Phish's New Year's Eve 2012 show.  The song is "Garden Party" by Rock & Roll Hall of Fame inductee Rick Nelson.  I had never heard this song until I had the pleasure of listening to this particular Phish show.  The song is written in the intensely self-aware and cryptic style that some may find pretentious but, in this case, I find delicious.  It tells the story of Nelson's experience getting booed at Madison Square Garden for playing "new stuff" instead of his "old hits".  Apropos in several ways for Phish's own experiences.

Nelson is truly a significant character in rock & roll history; having recorded 53 songs that have placed on the Billboard Hot 100 chart between 1957 and 1973.  Those include "Hello Mary Lou" and "Poor Little Fool" which has the particular honor of being the very first number one single on the first Billboard Hot 100 chart.

So once again, I am very late to the party but nonetheless enjoying some of the best music ever written/recorded.  Hope you enjoy as well.

Until next time,

Ty

Black Dub

So.

Here we are.  The very first edition of Late To The Party.

I will start by providing those of you who have become familiar with my "Quote of The Day" blog with a very special quote for this day:

"Check this video out.  Truly inspiring. Goosebumps."
-Ty Bond

The video I speak of is this:

Black Dub is a "supergroup" formed under the direction of legendary producer Daniel Lanois (U2, Peter Gabriel, Bob Dylan).  The group consists of singer Trixie Whitley, drummer Brian Blade (Herbie Hancock, Joni Mitchell, Bob Dylan, personal favorite), bassist Daryl Johnson, and Lanois himself on guitar and keyboards.  Of course this phenomenal self-titled record was released in 2010 and is therefore most certainly eligible for a Late To The Party inclusion.  

A few things I must say about Black Dub: Brian Blade's drumming is perfection.  Trixie Whitley's vocals rip my heart from my chest and cause my skin to tingle.  Daryl Johnson drives my comfort senses like a train.  Daniel Lanois is simply a genius.  Only a genius could instigate artwork of such magnitude and gravity.  Suffice to say, I think this record is a significant achievement in recent music history and I strongly encourage all to give it a spin.  

Black Dub on iTunes

Black Dub on Spotify

Also, in keeping to the principle of Late To The Party, I would like to extend a huge congratulatory shout out to my lovely friends Alex Kelly and Beth Whalley who just tied the knot this past November.   I was honored to be the best man at their beautiful wedding in Cleveland, Ohio.  It all took place at their wonderful art gallery Proximity.  You can check out the incredible pictures provided by Cleveland's own Mike Levy and Nate Lucchese on their blog Harvard Ink.  A very cool blog worth checking out and send them a congrats if you like.

Late To The Party Mission Statement

With so much music that is widely available and easily accessible these days, it is difficult to stay current with whatever trendy tunes the kids are listening to.  I myself find that I often “discover” music long after it has been “popular”.  However, that does not mean the hip auditory sensations of yester-whatever should go unappreciated today, or tomorrow, or next week, or whenever I get around to it… I still believe in spreading the word of great music that should be shared. 

So don’t sit around sulking about your detachment from the current musical landscape and join me in being...

Late To The Party.