Posts Tagged With: Mega-Superior-Gold

Going deep on Come Pick Me Up, the new DRA archive

CPMUA number of Ryan Adams sites have come and gone in recent years, and you can find some of them at the Ryan Adams Reference Library link above. But a new one that shows particular promise in the online DRA fan landscape is Come Pick Me Up. Subtitled “The Ryan Adams Archive,” Come Pick Me Up is a worthy successor to the old RAA (which lives on in Facebook form) and Answering Bell (which is no more but was an invaluable fact-checking resource back when I was writing “Losering”). It’s also a nice compliment to Mega-Superior Gold.

Come Pick Me Up is the work of Michael Niebuhr, a dedicated and avid Ryan Adams fan from Copenhagen. He writes:

I’m a longtime Ryan fan going back to Whiskeytown’s “Strangers Almanac,” which is probably still my favorite album of his. I’m also an amateur songwriter (though non-practicing for the past five years due to parenthood), and I do software development for a living. So the actual coding of the site is a no-brainer. The only effort is the time that goes into adding the data. It is a big project for sure.

The idea is to cover everything: reviews, releases, recordings, interviews, collectibles, news, writings. I started the site in October with a group of “Superfans” — Luke O’Sheary, Thomas Bauer, Trond Andersen and Darren Combs — who supplied the initial data set (songs, shows, about 700 setlists), before I decided to take it solo after a few weeks. I aim to respect the wishes of Ryan and his organisation(s), and that’s why there’s no news about his divorce or girlfriends (which is the same story every time anyway), or unreleased recordings/bootlegs. I’m contemplating whether a forum will be a good idea, or just a place to slag the poor Shining.

As the site takes shape, it’s dawning on me how much material is out there. I want to “sweep Youtube” for Ryan content and do the same for concert reviews and photos. The possibility of connecting it all is too tempting not to reach for. I hope this site will grow into something great, a go-to source for Ryan fans — maybe even a place Ryan himself will check from time to time, such as to see what he played the last time he visited a city.

Eventually, there’ll be a credit section with a big “thank you” to Answering Bell, RAA and everybody who’s gone before, tracking the shows and setlists over the years. And to the tapers. And Ryan himself, of course. Somehow he never gets enough credit.

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Ryan Adams will be here in song if not in spirit

RAHposterTuesday night, Ryan Adams played his first full-band show in almost four years, as part of a star-studded benefit for the Teenage Cancer Trust at London’s Royal Albert Hall. Reports indicate that the set included a song made up on the spot plus “Oh My Sweet Carolina,” several new songs that will be on his upcoming album, a lot of very funny banter and “Come Pick Me Up” as a closer. Even though he didn’t do a single Whiskeytown song (Oh, Ryan — Ryan, Ryan, Ryan…), I truly wish I’d been there. The always-reliable Mega-Super-Gold was first on the scene with a setlist (the original is viewable here); reviews and show reports are herehere, here, here,  here, here, here, here, here and here; and you can download a recording of the show here.

Ryan also popped up on the interwebs this week as part of a punk band called Pornography, which is putting out a limited-edition seven-song seven-inch (!) next month. Check out opening song “Last Nite at the Opera,” all 53 seconds of it, hereand you can start pestering your favorite independent record store about snagging one of the super-rare vinyl copies that will be released April 20 for Record Store Day.

Meantime, there’s talk of a U.S. tour when Ryan’s album comes out, and hope springs eternal that he’ll bless his old home state with a show. But it’s pretty much as certain as death and taxes that he won’t play anywhere near his former Raleigh stomping grounds.

Since Ryan won’t come play here, then, it seems like the thing to do is to get some folks together to play some of his songs. And that’s exactly what is going to happen later this spring at a club in Raleigh, a Ryan Adams tribute show. It’s still coming together, so I can’t spill details just yet. But there should be a date, a place and a lineup to report very soon.

Stay tuned…

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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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