Posts Tagged With: Merge Records

Ryan Adams drops by “The War”

RyanBobMouldSo good old Jon Wurster, who was one of Whiskeytown’s drummers back in the day, is playing in Bob Mould’s band nowadays amongst many other activities (some of which are cataloged here). In that capacity, he’s in Mould’s very fine new video for “The War,” a song off Mould’s current album Beauty and Ruin (Merge Records) that is brimming with intimations of mortality:

This war has worn me down
Broken dreams and a hole in the ground
Don’t give up
And don’t give in.

Lo and behold, Wurster’s old Whiskeytown bandmate Ryan Adams (who has been known to cover the occasional Mould song) also turns up in the video right about as Mould is murmuring those words. Ryan appears in the final 30 seconds of “The War,” in a cameo that seems to imply a passing of the torch. He comes in just before the 4:20 mark, looking pretty 420 himself (heh); check that out here.

While I’m at it, Wurster also appears in Mould’s first Beauty and Ruin video, for “I Don’t Know You Anymore” (which features another high-profile cameo, by Colin Melloy of Decemberists). And Mould is quoted speaking at length about Ryan in this very fine interview feature.

ADDENDA (9/11-13/14): When Mould played New York City on Sept. 10, Ryan joined him during the encore. Ryan was in New York to play Letterman.

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Ryan Adams, Lemonheads, Juliana Hatfield, Mammoth Records: It all connects up

Writing and publishing “Losering” has been kind of like my own personal version of “This Is Your Life,” because it ties together so many threads from over the years. And revisiting my back pages via Ryan continues to yield up further examples of the Fundamental Interconnectedness Of All Things. Or maybe there really is only six degrees of separation between everyone on earth.

So when I moved to North Carolina in 1991, there were a handful of local labels in Chapel Hill. Most of them were glorified DIY operations started by bands to put out records by themselves and their friends. With one notable exception (more on that later), most of them didn’t last much longer than a few years.

But one Chapel Hill label that stood out back then was Mammoth Records. Where most denizens of the town’s indie-rock community talked a good game about keeping The Man at arm’s length, Mammoth clearly had the big time in mind. The label would do things like buy ads in the trade magazine Billboard, which was expensive and made little financial sense — but made a lot of sense in terms of brand-building.

In the early 1990s, Mammoth’s biggest act was the Blake Babies, a Boston guitar-pop trio fronted by rising “alternababe” star Juliana Hatfield. Mammoth founder Jay Faires would leverage having Hatfield on his roster into a distribution deal with the major label Atlantic Records (later going on to a career in film and television; curiously, his wikipedia entry makes no mention of Mammoth). Hatfield had a solid run as a solo act, but her career never took off commercially.

Back before she went solo, however, Hatfield also played bass in the early-’90s version of the Blake Babies’ Boston neighbors the Lemonheads, who earned a couple of gold records during the grunge era before dissolving in the late ’90s. Frontman Evan Dando revived the Lemonheads name again in 2005, with occasionally decent results. And now a proper Lemonheads reunion is underway with Dando, Hatfield and co-founder Ben Deily.

That leaves the group in need of a drummer, which brings us back to our friend Ryan Adams. Ryan took to Twitter last week to announce that he’s producing as well as playing drums on the new Lemonheads album, promising that it will be a return “to the punker sounds.”

One presumes this will be harder than the sharp pop of 1992’s “It’s a Shame About Ray” (still a favorite of mine from that era), or the song he did with Hatfield in 2008. But Ryan should be just the drummer for that. Back in 1991, the year I arrived in North Carolina, teenage Ryan was playing drums in a Jacksonville hardcore band called Blank Label. The group’s three-song single stands as Ryan’s first commercially released recording.

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