Posts Tagged With: Easy Tiger

Ryan Adams enters academia’s hallowed halls

SpanisDedRecently I happened across a picture someone posted on social media, of the thank-you page of a Master’s Thesis — in Spanish. Here it is on the right, and the relevant part roughly translates as:

Finally to all my friends for all the support they have given me, you know who you are. And why not…to Ryan Adams, Gary Moore and John Lennon for inspiration when I needed it most.

Figuring there was a story there, I got in touch with the author, a young man named Sebastián Chiwo from San Luís Potosí, México, to ask about his Ryan Adams fandom. As you can see below, he had a lot to say! It’s pretty cool that Ryan’s name is enshrined in an academic document on file at the library at Universidad Autonoma de San Luís Potosí, even though he himself didn’t go to college. Ryan’s fanbase is not just enthusiastic, but geographically widespread and diverse.

The first time I ever learned about Ryan Adams was in September 2001 when I was 13, after the tragedy of 9/11 — from the cool and lovely “New York, New York” video with many shots of New York City and a young guy with an acoustic guitar in his hands. I was very confused because my parents were fans of Bryan Adams, and I didn’t pay attention at first because I was busy learning classical guitar. But I became bored and began learning rock and blues, especially songs by John Lennon.

One afternoon I turned on the radio and heard a very beautiful guitar riff and voice, which the deejay said was “So Alive” by Ryan Adams. From that day, the music of this crazy guy has had an important effect on me, the guitar parts and lyrics both. Soon after was my father’s birthday and my mother gave me money to buy him a present. I went to Sears and saw a beautiful Zippo lighter that I thought could be perfect. But then I stopped in the music section and Ryan’s “Rock ‘N Roll” album was waiting for me. So I bought “Rock ‘N Roll” for me and the newly released “Let It Be…Naked” for my father. I think he enjoyed the CD more than he would have the lighter. After that, I was also listening to “Love Is Hell,” “Cold Roses,” “Easy Tiger” and so on.

Years later, I was in a severe depression. My only reason to live was playing guitar every night, for very little money — just for getting drunk and high. I can’t believe now that I was doing those stupid things. One of the few good memories of that time was playing all the “Love Is Hell” stuff every night; not the songs exactly, but the main guitar riffs. The feelings were the same, “poor guy” is what I was thinking about me. I knew Ryan’s life had been crazy and wild between “Heartbreaker” and “Easy Tiger,” but also sad like mine.

SebastianAfter a series of personal tragedies, I got clean and began working hard in my profession. Ryan’s music was always there, albums like “Ashes and Fire,” “III/IV,” “Orion,” “Ryan Adams,” “1984” and “1989.” They gave me a more optimistic (and weird) way of living. I bought a denim jacket and customized it with logos of OCP, Weyland-Yutany, Nuclear and Misfits Fan Club. Guitar is still an important part of my life and I’m always asking questions about equipment and guitar techniques of the guitar players in Ryan’s bands — Neal Casal, Brad Rice, Johnny McNabb, Ethan Johns, Mike Viola, etc.

ThesisNowadays I am an electronics engineer majoring in instrumentation and control systems, with a Master of Science in electrical engineering with a major in biophotonics and medical optics. I completed both studies in the physical sciences department at the Autonomous University of San Luís Potosí. My personal tribute to and acknowledgement of Ryan is a little paragraph in my Master’s Thesis, “Design and Construction of a Portable Raman System For Non-Invasive Medical Diagnosis.”

Definitely, Ryan’s music is the soundtrack of my life, and he is a very strong influence on me as a person. I commonly cite his statement, “Stay Weird,” in my own life.

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I don’t think this is a Ryan Adams reference…

…but who knows, this Austin eatery (which I walked by on Sixth Street while making my rounds through the downtown district of South By Southwest this afternoon) might be named after his 2007 album.

EasyTiger

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Like Yesterday: Good morning, Afghanistan

This is the time of year when homesickness might start feeling particularly acute, especially for people on duty overseas. So it is that this fun little video based on Ryan Adams’ Cardinology song “Like Yesterday” turned up on the Ryan Adams Superfan page Wednesday morning. The accompanying note thanked Ryan “for making deployments a little bit more bearable” with his music:

I’m currently on my 2nd tour in Afghanistan and your music still helps me to “feel”…This was a goofy video I made from my first tour..I would request you to play a free show here, but I rather you be safe and continue to make amazing music for us! I cannot wait to see you play live someday when I return to the states.

-Staying Weird.

..One of your many fans,

-Britt

It’s the sweetest video tribute to Ryan I’ve seen since the “Wish You Were Here” travelogue from back in January. In this one, the gal with the broom is Brittany Caruso, an Air Force Sergeant currently stationed in Afghanistan. I got in touch to ask a little about herself, and here’s what she wrote back:

BCaruso

Brittany Caruso, reporting from Afghanistan.

I’m 25 years old and I’m originally from Napa California. I joined the military when I was 17 and I’ve been exploring and learning about life since then..I’ve been on 3 deployments and am currently serving my second tour in Bagram, Afghanisfan..My home station is Eglin AFB, Flordia..Music is my outlet, and mantra..When I’m not listening to music I am playing it- I’ve been playing drums for a little over 8 years now..Ryan Adams music has greatly inspired after the first album I bought years ago – “Easy Tiger” ..the songs “Rip Off” and “Two” have accompanied through some very challenging times and milestones of my life..With saying that, I would have to say “Easy Tiger” is my favorite album and a footprint of my growth in adulthood.

Ryan really does have some great, great fans out there.

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Ryan Adams debuts at No. 4

Whatever overall long-term critical consensus emerges on the new Ryan Adams album, this much is already certain: It represents a new U.S. chart peak for Ryan. The album sold a healthy 45,000 copies in its first week to debut at No. 4 on the Billboard 200 album-sales chart for Sept. 27 — right between R&B singer Jhene Aiko at No. 3 and country singer Lee Bruce at No. 5.

Reaching No. 4 represents a three-spot jump beyond the No. 7 peak Ryan had with both 2011’s Ashes & Fire and 2007’s Easy Tiger.


RANo4

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Ryan Adams rates himself

DRAself-reviewI can’t vouch for the authenticity of this “ASSESSMENT WRITTEN (BY) RYAN ADAMS, HIMSELF,” which DRA super-fan Darren Combs recently unearthed from a tumblr page; looks like an artifact that someone came across in a record store, and it would seem to date back to sometime after Ryan turned 33 years old in November 2007 (Probably around the time the Cardinology album came out in the fall of 2008). Whether or not it’s genuine, however, this sure reads like something the Ryan I remember would have written, and with pretty much the same handwriting to boot.

As to what he’s saying here, it will surprise no one who has read either “Losering” or this assessment that Ryan and I have vastly different takes on the relative merits of his catalog — although I’m basically with him on both Gold and Love Is Hell. But I’d say he vastly underrates Heartbreaker (as well as Demolition and, to a lesser extent, Rock N’ Roll) while grossly overrating the Cardinals albums (Cold Roses aside, of course). Whiskeytown, naturally, goes unmentioned.

Anyway, click on the picture at right to enlarge it, or see below for the more easily legible typewritten version. Here is Ryan according to Ryan, circa 2008. Reading this, I can’t help but wonder: What would this version of Ryan Adams think of “Gimme Something Good” and the rest of the soon-to-be-released Ryan Adams?

 

RYAN ADAMS (SEE CARDINALS)
Non-Canadian Hack-Assface

At 33, it’s safe to say that most of these records blow. There are like 3 good songs (maybe) on Gold (2) on Demolition and NONE on Rock n’ Roll (AWFUL DON’T BUY) But….Love is Hell is good because I was high as fuck back then and it worked. ALL the Cardinals records have good tunes. If you are a redneck or want to be disappointed with me buy Heartbreaker. But it’s utter shit and I didn’t mean a word of it. I like Cold Roses, Jacksonville City Nights, Follow the Lights, Easy Tiger (wait for the Cardinals ver.) and CARDINOLOGY. Keep it real — Ryan Adams

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Ryan Adams by the numbers: Money, money, money in the bank

Ryan Adams has had a very fine career by the numbers as well as by the music, which is something that entered into the “Losering” story. While I was working on the book, I called upon a friend who worked at a music-business establishment with a subscription to Nielsen Soundscan, the service that tracks music sales in the U.S. He provided album-sales figures for Ryan’s catalog, both solo and with Whiskeytown, which was very useful data to have. While it would be unwise to put all the precise to-the-last-digit numbers for every album here (Soundscan is a subscription service, after all), Ryan’s sales figures through January 2012 can be summarized thusly:

Whiskeytown — 424,103 total sales. In terms of individual titles, the range was from just over 150,000 copies of the original 1997 version of Strangers Almanac down to just under 3,000 copies of the original 1996 independent-label version of Faithless Street. Whiskeytown’s 2001 swan song Pneumonia and the 1998 Outpost Records reissue of Faithless Street were both at over 100,000 copies.

Ryan Adams solo — 2,362,984 total sales, topped by 2001’s Gold at about 425,000 (a figure you’ll notice is greater than the entire Whiskeytown catalog combined) and followed by 2000’s Heartbreaker at about 309,000 and 2007’s Easy Tiger at just over 250,000. Of the rest, only 2003’s Rock N Roll was at more than 200,000 — although 2005’s Cold Roses was close. And bringing up the rear: 2005’s 29 at about 96,000, and 2010’s III/IV at just under 49,000.

NetWorthAdd it up, and it comes to almost 2.8 million in total U.S. album sales (which is probably at least in the neighborhood of 3 million by now, since that was 16 months ago). Nothing to rival U2, but a very healthy sum nevertheless. And while Whiskeytown didn’t make Ryan rich, his ensuing solo career certainly has. How rich? Well, according to the mavens at CelebrityNetWorth.com, Ryan’s estimated net worth is $24 million — a sum that obviously includes revenue from more than just domestic record sales, such as touring, Tim McGraw’s country-hit cover of “When The Stars Go Blue” and all the weird places “Come Pick Me Up” has appeared over the years.

(UPDATE, 3/9/16: Probably as a result of Ryan’s divorce from Mandy Moore, CelebrityNetWorth.com has halved its estimate of his net worth — from $24 million down to $12 million.)

I should note that I’m not sure how trustworthy that $24 million figure is. Not that I know anything about net worth of the rich and famous; but if I’d been asked to estimate Ryan’s fortune before seeing this, I probably would have guessed somewhere closer to the $9 million that Wilco’s Jeff Tweedy is said to be worth. And yet it’s just as possible that $24 million is a conservative estimate because CelebrityNetWorth.com’s summary of Ryan’s career is woefully out-of-date (not to mention sloppy). Here it is verbatim:

Ryan Adams is a North Carolina-born singer-songwriter, musician, and author with an estimated net worth of $24 million dollars. Originally recognized for his work with the alt-rock group, Whiskeytown, Ryan Adams left to pursue a solo career, and has since released five solo studio albums. He also performed with The Cardinals until 2009, when he decided to take a break from music. He is most widely recognized for his song, “New York, New York”.

(Note: This entry has since been updated, but the revised version at that link remains just as clue-impaired.)

Actually, “five solo studio albums” is less than half of what Ryan has released since Whiskeytown disbanded; he’s put out two albums (one a two-disc set) and appeared in a movie since that “break from music” ended; even though “New York, New York” got played on TV at Thursday night’s NFL draft (cha-ching!), I’d still say that “Come Pick Me Up,” “When the Stars Go Blue” and possibly even “Lucky Now” are all better-known by now; and while I’m at it, as descriptions go, “alt-rock group” is a pretty crappy one for Whiskeytown. At any rate, between Ryan’s bottom line and the $23 million that his singer-actress wife Mandy Moore is worth, it seems safe to say he’s not sweating next month’s electric bill.

So how does Ryan’s estimated net worth stack up with what other celebrities are worth, you ask? Well, it’s a fraction of the fortunes of old-school superstars who have been at it for 30 years or more, including Paul McCartney ($800 million), Madonna ($650 million), Dolly Parton ($450 million), Mick Jagger ($305 million), Bruce Springsteen ($200 million) and Robert Plant ($120 million).

But Ryan isn’t too far behind contemporaries like Jack White and Drake, who are both at $30 million. I was actually surprised that Adele didn’t come in higher than $45 million. The next level up is Justin Timberlake at $100 million and Usher at $110 million. Higher still is Foo Fighters main man Dave Grohl (managed, like Ryan, by John Silva) with $225 million, much of which originated from his early-1990s time in Nirvana; and hip-hop icon Jay-Z is in a class by himself with $500 million. Throw in his wife Beyonce’s $300 million, and that’s a household with some serious financial juice.

Returning to Ryan’s relatively modest end of the spectrum, I was a bit surprised at some of the artists he’s well ahead of, including Patti Smith ($15 million), Strokes frontman Julian Casablancas ($10 million) and “Call Me Maybe” hitmaker Carly Rae Jepsen (and if you’re wondering what that level of one-hit-wonder omnipresence is worth, $1 million is apparently the answer).

Narrow the field down to musicians from North Carolina, and about the only one ahead of Ryan is Ben Folds at $35 million (if you don’t count Massachusetts-born James Taylor, $60 million). Another interesting detail is just how far Ryan is ahead of all of North Carolina’s “American Idol” stars, a delegation led by Chris Daughtry at $8.5 million. Clay Aiken is next at $4 million, while Scotty McCreery, Kellie Pickler and Fantasia all come in at $1.5 million or less.

I think the lesson to be learned there is that “American Idol” is more likely to convey fame than fortune. But I still wouldn’t mind trying to scrape by on the bank account of anybody on this list.

ADDENDUM (2/5/15): Here’s more detail from a website called CelebrityGlory.com, although I wouldn’t put much stock in any of their figures. To cite just one questionable example, I’m not sure what they were smoking to have concluded that Ryan’s “1984” limited-edition seven-inch generated the suspiciously robust sum of $349,650.

SECOND ADDENDUM (12/9/15): According to divorce papers filed by Mandy Moore, Ryan earns $151,000 a month — which comes to more than $1.8 million a year, while she claims to be scraping by on “less than a quarter of that” (and is therefore asking for $37,000 a month in spousal support). Anyway, maybe he is worth $24 million…

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Rating Ryan’s catalog, top to bottom

StereogumListSo indications are that Ryan Adams will finally have the followup to 2011’s Ashes & Fire coming out sometime this year. An in-the-studio picture featuring keyboardist Benmont Tench and other players from Ryan’s circle has been making the online rounds; and the fansite Mega-Superior-Gold reports that the album is done, with A&F producer Glyn Johns again overseeing production.

Obviously, it’s impossible to predict where this still-to-be-titled album will rank in Ryan’s overall ouvre. But before everyone starts listening to the new one and assessing it, I’ve been meaning to do a post ranking Ryan’s catalog to date, inspired in part by a Stereogum listing from last year and a recent thread on the Ryan Adams Superfans Facebook page. Like Stereogum, I’ve limited this to officially released full-length studio albums only, and I also didn’t bother with the obvious metal-leaning stinkbombs Orion and The Finger’s We Are Fuck You (both tied for dead last, if you must know). Unlike Stereogum, however, I’m including Whiskeytown’s catalog — because that still stands as Ryan’s best work in my book, and I don’t feel like his career makes sense without it. But that’s just me.

1 — Strangers Almanac (1997). “Losering” includes a chronological discography, in which I write of Strangers, “All roads lead here.” Really, nothing else comes close to this sign of the times for Ryan, Whiskeytown  and the scene he came out of. I freely admit that maybe you Had To Be There for this to resonate as strongly as it does for me. But mark my words: Decades from now, this will be the record of his that people still come back to.

2 — Faithless Street (1996). Beloved kid-brother sidekick to Strangers, Whiskeytown’s Faithless Street is all the more wonderful for its raggedy flaws. The sound of youthful promise, rendered in an old barfly voice.

3 — Heartbreaker (2000). Ryan’s life and band were collapsing around him when he made his first solo album, at a time when he was wondering if he’d have to go back to the world of dayjobs. But Heartbreaker rose above the angst and trauma of its circumstances to stand as an unequivocal triumph. Another prediction: Give it enough time, and Heartbreaker will someday outsell Gold.

4 — Demolition (2002). Most of  Ryan’s hardcore fans take their cue from Ryan’s disavowal of this odds-and-sods compilation and dismiss it (and Stereogum also ranked it his third-worst). Nevertheless, it’s my favorite of his major-label solo works; I’ve gotten a lot more enjoyment out of it than I have from Gold, I’ll tell you that — and “Dear Chicago” never fails to stun.

5 — Cold Roses (2005). It’s funny to recall the smack that young Ryan used to talk about the Grateful Dead back in the day, because this plays like a direct descendant of American Beauty and Workingman’s Dead. Mellow and intermittently superb — but, yes, over-long. While super-fans are aghast at the notion of pruning its two-disc/18-song length, I still maintain that it could have been the basis of a single masterpiece album culled from the three he put out in 2005. I expect this kid would also disagree. But it’s all good.

6 — Pneumonia (2001). A grand pop experiment, and the high points are as great as anything Ryan has ever done with or without Whiskeytown. Ultimately, however, Pneumonia is a half-successful album that just doesn’t hang together, and some of it is downright half-assed (see: “Paper Moon”). Had the original 1999 version come out, that would rate a notch higher.

7 — Rural Free Delivery (1997). Released as equal parts contractual obligation and revenge by Mood Food Records (the independent label Whiskeytown left to go to the majors), RFD displays exactly as much care in its execution and packaging as you’d expect — as in, almost none. And yet the spark of these 1994 recordings can’t be denied, especially the four tracks comprising Whiskeytown’s 1995 debut EP. I also still love the countrypolitan take on Black Flag’s “Nervous Breakdown.”

8 — Love Is Hell (2003-2004). Where shit gets real, with an album that more than lives up to its title. Ryan was in a particularly dark place when he made this; and while it’s quite good, the obvious pain makes for a difficult listen. Love Is Hell remains an album I respect more than enjoy, but it certainly has its enthusiasts.

9 — Ashes & Fire (2011). I really wanted this to be spectacularly great, and for a time I think I fooled myself into believing it’s better than it really is (partly because it was such a vast improvement over its 2008 predecessor, the ultra-dreary Cardinology). With the benefit of hindsight, I’d call it a return toward form rather than all the way to form; a good record, but still not quite all the way there. Lovely as it is, I find it a touch too subdued. But “Lucky Now,” which strikes a perfect closing note in the movie “This Is 40,” is his best song in eons. There’s room to grow here, and hope springs eternal. I can’t wait to hear his next record, whenever it emerges.

10 — Rock N’ Roll (2003).  Though it was well-reviewed upon release, Rock N’ Roll has acquired a taint over the years. Most DRA purists would put it near rock-bottom (and Stereogum has it rated his second-worst; it also figures prominently here), but I think it’s better than that — Ryan’s new-wave tribute to Gold’s classic-rock homage, and the album he delivered when his label complained that Love Is Hell was too dour. I initially preferred RNR to LIH, but now I must admit that the latter has aged better.

11 — Easy Tiger (2007). To me, Easy Tiger feels like more of a compilation than Demolition, bouncing as it does between widely varying styles. But the high points, “Everybody Knows” and “Off Broadway,” stand among Ryan’s best songs. On the downside is “Halloweenhead” (ugh). And I still die a little whenever I hear “These Girls,” the abomination he rewrote “Hey There, Mrs. Lovely” into (go find the original version on the Destroyer bootleg instead). I must confess I kind of hold that against the rest of the record.

12 — Jacksonville City Nights (2005). I so wanted to love this. Still do, and JCN definitely has its defenders — Stereogum gives it a bronze medal while my fellow DRA obsessive Sharon insisted I give it another chance when I wrote dismissively of it. So I did; but alas, this album still just feels a little off to me. All the elements are in place, except for Ryan, who sounds like he wants to get back but can’t find the way. He sounds almost manic on “The End,” a song that still makes me cringe going on eight years later.

13 — Gold (2001). I once saw someone on Twitter call Gold “forced, like date night in a loveless marriage,” which I’d say hits the nail on the head. I can’t tell you how many arguments I’ve had about this record over the years. It would make my life ever so much easier if I just liked the damned thing — and Lord knows, I’ve tried. But even though it’s his commercial high point, I still find Gold to be a self-indulgent mess with some great songs (especially “When The Stars Go Blue”) lost amid too much dreck (especially “Tina Toledo’s Street Walkin’ Blues”), made all the more frustrating by all the great songs he’d passed over to do this. Oh well. You say Gold, I say Strangers, let’s call the whole thing off.

14 — III/IV (2010). Outtakes from the period that yielded up Easy Tiger, and it has some decent individual songs. But I’d say it’s still for completists only. Being one of those myself, I gave it a more favorable review than it probably deserved upon release.

15 — Cardinology (2008). An album I really have to struggle to get through, because it feels absolutely stillborn to me; just sort of generic, some pretty songs here and there — but none of it sticks, which was worrisome because it left me wondering if Ryan had lost it completely. The first time I heard Ashes & Fire, I was almost ill with relief because it was such a huge improvement over this.

16 — 29 (2005). Yeah yeah yeah, it’s a concept album about Ryan’s 20s, with one song for each year. So what? While 29 has its proponents, I’ve always found it uninviting enough to make Love Is Hell feel like Up With People. My first thought upon hearing it was: All the amazing stuff he’s got in the vaults, and he puts out this? The years haven’t softened that opinion, either.

ADDENDUM: There must be something in the air because a writer named Jeremy Winograd is also grading Ryan’s catalog. He seems to write about Ryan quite frequently (and he was also kind enough to review “Losering”). His response to this list:

Can’t say I agree with all of your list — I think you overrate the Whiskeytown stuff a bit, though I can’t say I blame you for that, and I would definitely put Jacksonville City Nights and Easy Tiger higher. But like I said in my 29 review, part of the fun of Ryan’s catalog is that nobody seems to completely agree which stuff is good and which stuff sucks! Wading through 900 mediocre songs to get to the 100 great ones is all part of the experience, I guess.

SECOND ADDENDUM (9/14/14): Here’s another DRA catalog ranking.

THIRD ADDENDUM (2/21/17): Still another DRA catalog ranking.

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Ain’t no obsessive like a Ryan Adams obsessive

So it’s wonderful to hear from folks who love your book, however much or little they have to say about it (seriously, any and all feedback is welcome at dlmenconi@gmail.com). But it’s also great to hear from readers who engage with your book so strongly that they are moved to respond with vigorous disagreement. I’ve heard from plenty of folks who have read “Losering,” and no one has responded with quite as much verve as Sharon Black, a librarian and fellow DRA obsessive from Philadelphia. Below is the first of several messages she has sent, reprinted with her kind permission. Not that she’s changed my mind about Jacksonville City Nights, but I did agree to give it and “Oh My God, Whatever, Etc.” a fresh listen. I figure it’s the least I can do.

Dear David—

I really enjoyed your book on Ryan Adams–thanks for being such a good fan and critic.  Most of the time you are spot on, but a couple of the misses are huge.  So let me take issue.  First of all you must go back with a clear head and list to JCN.  It holds up as one of his BEST recordings.  It is more consistent through and through than Cold Roses or Easy Tiger (which are plenty good).  To have no respect for a song like Games (that starts with a killer lyric like “You aint but a fire on my sad estate, burning my house to the ground”) boggles the mind—the whole song has a beautiful melody and I like how it gets surreal out there where the taxis don’t ride.  ‘Nuf said.  Seriously, please reconsider JCN.  Even Pitchfork respects it more than you do. And over the years it has gained in favor among critics.  When he came out with it wasn’t what folks were expecting and they felt they heard enough from him that year.  The first time I heard it I was jarred too. But then it grows on you and it stands as one of his most solid albums.

You also write off one of his best songs ever, omg!   That being “Oh My God, Whatever, Etc.”  That title is not lazy playfulness, or unfinished writing.  Yes, he can be immature like that but this is not an example of that. Please read this analysis of the song:

“It is a beautiful song about grace and the ineffable wonder of life realized by a motel worker after an ordinary, modestly described (in amusing, idiosyncratic Adams fashion) double shift.  The lyric is fairly profound but has this really light touch (nice achievement). No flowery language or big statements and it never gets sappy.  It starts with the worker hearing the noises of lovemaking through a wall. He knows their names, “One of them’s James/The other’s some name she changes every time she lies across his bed,” a line that cleverly elaborates on the stereotype of lovers signing the motel registry under various aliases by going on to suggest the female might be good at what she does, at least she has different personalities (names)—just the kind of reverie a motel worker might entertain. The next verse contains the wonderfully quirky line.  “If I could I’d fold myself away like a card table, a concertina, or a murphy bed.” He appreciates that everyone tips but baldly confesses “not enough to knock me out.” No one’s “generosity” at this place is going to change his life. Ah, but something else is about to… Both of these verses are punctuated by the beautiful chorus where this everyman double shift worker looks up at the sky and experiences a moment of awe; the music here is transporting, you feel yourself drawn upwards into the constellation as “the light of the moon leads the way/Towards the morning and the sun/The sun’s well on the way too soon to know…”  A kind of spiritual feeling sneaks up on him but he’s tired, he’s everyman and not a poet so all he can say is “…and/Oh my god, whatever, etcetera.”  He doesn’t have words for the wonder, but it registers with him.  He gets it. Epiphany achieved. Of course the songwriter, Mr. Adams, IS a poet even if the poetry of this song is understated, duh, that’s part of its poetry.”

So my point, Mr. Menconi, is of course you don’t have to like everything he does (I find his most uneven, sophomoric work is on Cardinology,  e.g the moralizing, this is the way life works lyric of “The Sun Also Sets” ugh) but be careful not to single out his masterpieces for scorn!  It makes me not trust you musical aesthetics.

But good work on the book, I did enjoy it.

Cheers,
Sharon Black (who was one of those readers who pre-ordered Losering)

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