Well, winter has finally found its way to my little corner of the world.  Yesterday, a little snow fell and the temperatures plunged a bit, making it feel more like this time of the year should.   I’ve been spending a lot of time examining the past lately, something that I truly enjoy, so I thought on this cold Sunday morning with snow on the ground I would take a short break and listen to some music.

I thought this would be a fitting choice for someone who is looking back.  It’s Ryan Adams and his song Oh My Sweet Carolina.  This is a delicate acoustic version that I hope you’ll enjoy…

I for one am I HUGE Ryan Adams fan, he can almost do no wrong in my personal little black book of go to artists. Sure, he releases records like red carpet stars get botox and some of the songs might not be my favorite, but it’s ALL solid… which is more than we can say for the majority of platinum selling pop artists right now.

This is something just brought to my attention… Enjoy!

Those paying attention will argue that 29 was Ryan’s last ’solo’ record – and they have a point. 29 was recorded before JCN andCold Roses, and without The Cardinals. But because it was released last out of the three 2005 masterpieces – and because the extra/bonus material from those sessions has yet to surface – I will review it later. For now, Ryan’s solo career is over and it’s time to slow down and take a look back at the multitudes of tracks released in the last 4 years.

To quote one of the greatest music-driven movies of all time, ”the making of a great compilation tape, like breaking up, is hard to do and takes ages longer than it might seem.” I’ve been working on this mixtape basically since I started this blog. This One’s For The Rose is the quintessential ‘Greatest Hits’ formed from all of the ‘unreleased’ tracks Ryan recorded from 2000-2003. This excludes any track that was (or has since been) released in any sort of official form – as a bonus track, on a compilation, re-recorded for a later album, etc. The sessions that produced this material vary in quality, style, and genre, but then again, you could say about all of Ryan’s stuff. These collections haven’t been mastered and/or cut well, so I took this liberty of ‘cleaning’ them up a bit – cropping the tracks to eliminate leads-ins, restarts, and empty tape. These 19 tracks are split into two sides, each of which can be considered an album on its own – beginning with a strong, upbeat track, dancing around throughout the middle without a single weak song, and with one of Ryan’s signature piano ballads to cap it off.

Download (zip)

You’ll notice that two ’sessions’ are very strongly represented on this mixtape: The 48 Hours and Swedish Sessions. These are by far the best unreleased albums Ryan has recorded. They are both concise, complete, and nearly flawless, whereas his other recording sessions contained strange throw-away tracks. But in-between those overzealous recordings, Ryan managed to mix in great songs. The Suicide Handbook was 32 tracks of mostly plaintive acoustic numbers that would help populate Gold andDemolition. His earliest – from 2000 - The Destroyer Sessionsproduced a couple tracks that would show up on Heartbreaker and lends a couple more tracks to this mixtape. The mix is rounded out with one track from each from Ryan’s Love Is Hell NY, NY Session,Cowboy Technical Services Session, and the First Pinkheart Session.

This is a Greatest Hits, so there’s not a clunker in the bunch, but special attention should be payed to a few tracks. Quoting John Cusack once more, ”you gotta kick off with a killer, to grab attention. Then you got to take it up a notch, but you don’t wanna blow your wad, so then you got to cool it off a notch. There are a lot of rules.” I began with ’When The Music Don’t Come’ - a ‘killer’ track from the Love Is Hell sessions that almost became the title of this little compilation. It would’ve worked well as appeasement during Ryan’s sabbatical before he recently decided to begin releasing music again. I took it up a notch with ’Walls’ - the country-est tune in the bunch. To cool it off, I offered ’Dear Anne,’which is probably the most touching song here. Written as a letter to Anne Frank, it asks how Anne’s fate came to be, and thanks the biographer for her words, whether or not they were his to read. Leading you back into heavier music is ’Born Yesterday’ with its plodding tempo and passion-laden vocals. ’Madeline’ lathers some sultry piano and blues guitar on the mix with a Huck Finn-esque river song. To end side one, I used the last track from the First Pinkheart Sessions. Just Ryan and his piano, the song doubles as a sort of midway interlude, fittingly mentioning that ”its been so long for just half-over.”

Side B reads much the same, highlighted by 48 Hours and Swedish Session songs. ’Friendly Fire’ delicately tells of how relationships often come with the casualties of war. With the harmonica-driven attitude reminiscent of Heartbreaker’s opener, ’Poor Jimmy’ picks thing up in the middle. One of my all-time favorite songs, ’Poison & The Pain’ gives off an eerie feel with Ryan providing his own sparse backing vocals and hand claps. The second side again ends simply, this time with a softly-picked guitar accented with the low end of a piano. ’String & The Wire’ is a desolate song that Ryan once said of in a live show: ”it’s really long and really totally boring, so if you need to get a drink or something, this is the best song to go.” Not boring at all, it’s simply soothing. And that’s my idea of the perfect album-ender.

For those instant-gratification fans, here are direct links to a few of my favorites from the set:

Ryan Adams – When The Music Don’t Come
Ryan Adams – Dear Anne
Ryan Adams – One For The Rose
Ryan Adams – Poor Jimmy

Stay tuned for more Ryan Adams mixtapes. I have plans for a B-Sides & Bonus Tracks compilation, a Live compilation, and maybe even an Unreleased Cardinals mix. In good time, my friends.

Check out all of my Ryan Adams Spotlight up to this point.

Though I was originally going to make this a top 50 list (and I did compile such a list), I decided to trim it down to 20. The list was starting to feel unfocussed, and I thought that it would be more interesting to really focus in on 20 albums from this decade that I really loved, rather than worrying about fitting in the certain albums I felt I had to have on my top 50.

So here is part 1 (#20-11). I think there are some unpredictable choices, which I like. It has some of the stuff you’d expect, but I tried to keep things a bit interesting. There’s lots of indie stuff, but I guess that’s just what I like to listen to most. Let me know what you think of my list, and feel free to share your own picks in the comments.

20. Consolers of the Lonely – The Raconteurs (2008)

In just one of his many side projects of the decade, Jack White joined forces with some “old friends” (he and Brendan Benson share frontman duties) to form the Raconteurs in 2006. Their first album was something of a success, and they topped themselves (pun somewhat intended) with their sophomore disc. The album is split more definitively between White and Benson, and each bring a lot with their respective styles. Highlights include Benson’s “Many Shades of Black” and White’s “Top Yourself” and “Five on the Five”. Every track is fascinating, and the endless variations on style throughout the track listing are impressive.

19. Youth and Young Manhood – Kings of Leon (2003)

Kings of Leon have recently been spotted invading radio airwaves with “Use Somebody” and “Sex on Fire” off 2008’s Only by the Night. But North America’s just been a little slow to pick up on these guys (which is odd, considering they’re American). Back in 2003, when they all had ridiculous haircuts and moustaches, they released their debut LP, which is full of catchy little retro tunes. I like the new Kings of Leon sound, too, but there’s something endearingly scruffy about their early work. “California Waiting” and “Red Morning Light” are raw, but the Followills’ ability to write an incredible pop song was evident early on.

18. Gold – Ryan Adams (2001)

Gold refuses to stick to one style, and the eclectic sound suits Ryan Adams well. Adams handles country stompers (“Firecracker”), lovely ballads (“Good Night, Hollywood Blvd.), and even blues (“The Rescue Blues”, “Touch, Feel, and Lose”) deftly on his lengthy, sometimes erratic sophomore solo album. All of his genre-shifting is fascinating. Every song offers something new, and Gold proves that when it comes to his music, Adams is ambitious and fearless. Some of his best songs to date can be found here, and despite the diversity of styles, it never feels unfocused. Adams is one of the best songwriters of this decade, for sure.

17. Parachutes – Coldplay (2000)

No matter how many jokes people make (or how vehemently Chuck Klosterman hates them), I honestly think that Coldplay is pretty excellent band. Their debut album, Parachutes, certainly showed a lot of promise. “Yellow” became a big hit, but it’s far from the best song of the album. “Shiver” is fantastic, and apparently it was Chris Martin’s attempt to write a Jeff Buckley song. Their signature sound can already be heard throughout the album, but I like that this is a smaller, more personal album than some of their later work. Scoff at the sappiness if you want, but there are some fantastic songs here.

16. Poses – Rufus Wainwright (2001)

I have a pretty huge spot in my heart for Rufus Wainwright. Something about the tone of his voice always makes me feel at ease. It’s hard to describe, but it’s unlikely virtually any other singing voice I’ve heard. On Poses (the follow up to his 1998 eponymous debut), Rufus gives us more of his signature theatrical fare. Though that’s not usually my taste, I love it when Rufus does the over-the-top stuff. He also gets folkier on his cover “One Man Guy” (it’s a wonderful interpretation of his father’s song), which is nice. I’ve heard that Wainwright was at the height of his drug addiction around this time period, but it’s a beautiful album nonetheless.

15. Elephant – The White Stripes (2003)

After the success of the song “Fell in Love with a Girl” (and the accompanying Gondry-helmed music video), The White Stripes managed to take advantage of their positive buzz and release another stellar album a mere two years later. It had a couple of songs that have since become radio staples (“Seven Nation Army”, “The Hardest Button to Button), but despite its more polished sound, there’s no way in hell that Jack White is selling out here. “Ball and Biscuit” is mighty, and this album features more of a blues influence than their past three. The White Stripes are a band that is constantly evolving, and following their journey over the decade has been a blast.

14. Trouble – Ray LaMontagne (2003)

His cuddly beard and raspy voice may seem commonplace in the wake of the recent folk movement, but Ray LaMontagne came before all of that. Before I discovered LaMontagne’s music, I thought that the song “Trouble” was some kind of soul standard. And all of his songs have that timeless feeling to them, which I always love. There’s so much soul in his music, and he sings every word with such emotion. I love music that is emotionally raw, and LaMontagne pretty much epitomizes that concept. His subsequent two albums are quite strong too, but his debut, Trouble, is his most affecting work to date.

13. I and Love and You – The Avett Brothers (2009)

The Avett Brothers have been releasing albums consistently since 2002, but they’ve just recently started making waves in the mainstream with their latest album. I and Love and You was helmed by super producer Rick Rubin, and the expected shiny production is there. But all that gloss doesn’t detract from the wonderfully eclectic collection of songs. There’s not a bad track on the album, and most of the tracks are exceptional. “Laundry Room” and “January Wedding” stay closer to the Avetts’ country roots, while “Slight Figure of Speech” is a spiky little pop gem. The signature rawness, beautiful harmonies, and thought-provoking lyrics that The Avett Brothers are known for haven’t gone anywhere.

12. New Wave – Against Me! (2007)

Fans accused these Florida punks of being sell-outs when they released this radio-friendly set of songs, but that doesn’t take away from the fact that this is a pretty amazing album. They worked with Butch Vig, who made Nirvana famous with his production of Nevermind, and I can understand how the polished production would put some fans off. But I don’t think that it hurts the album at all. “Thrash Unreal” is an infectious, unexpected anthem, and “The Ocean” boasts lovely lyrics from Gabel pondering what his life could have been under different circumstances. It’s fierce, relevant, and uncompromising, which is all anyone can ask of a band like Against Me!.

11. The Woods – Sleater-Kinney (2005)

Most people probably thought that the “riot grrrl” movement died at some point during the mid-90’s, but Sleater-Kinney proved that they still have what it takes to write an awesome rock record. The Woods is ostensibly their final album (they’ve been on an “indefinite hiatus” since 2006), and I had the unfortunate timing of discovering their music just as they ceased making more of it. But what an album it is to go out on. It rocks harder than most albums released this decade, and “The Fox” and “Modern Girl” are great slices of songwriting. Sleater-Kinney were at the height of their musical career with 1997’s Dig Me Out, and The Woods gives that album a run for its money.

In the words of Borat “Gureeat Success!!” We rocked Good Morning Maryland Today! We were kind of anxious. Peter woke up with no voice (totally sick) and most of the songs have harmonies. We loaded up on coffee and tea and headed to the ABC studios. Everybody there was awesome. 

So after some vocal stretching we made it to the Main studio and were able to watch the news process. It was crazy; robotic cameras, green screen. Its funny how much goes into a news show that we take for granted.

So after a few commercials Megan Pringle introduced us and we Rocked!!!

Thanks to everyone at ABC WMAR for a great time!!!

A couple of sentences in an old music magazine got me going and I felt I needed to listen some more music by Ryan Adams. I got the album Pneumonia by Whiskeytown a couple of years ago and really liked it. At that time I did not even know Ryan Adams was a member of that group.

I went to the library and got four albums by Adams with me home. After listening to them for a few days two albums stands out as my favourites at the moment, Easy Tiger and Jacksonville City Nights.

Prometo te dar meu ombro amigo em troca de acesso ilimitado ao seu closet.

A-do-ro os looks da Rachel Bilson (pós-The O.C., é ca-la-ro). Em vez de seguir os passos enlouquecidos da colegue de elenco Mischa Barton que, COITADA, parece receber dicas de moda da avó, a Rachel segue uma linha mais criativa e classy na hora de se vestir.

O estilo dela é tão absoluto que ela foi convidada pra ter uma coluna na InStyle, na qual responde as dúvidas das leitoras. Além disso ela foi a protagonista de uma das cenas mais bonitas de seriado que eu já vi: em um dos episódios da primeira temporada de The O.C., ela e o hottie do Adam Brody dançam ao som de Wonderwall, na versão super-sad-linda-de-morrer do Ryan Adams. Sofri.

Ah, the final SPECIAL FEATURE of the series has arrived.

Clearly, I have been influenced heavily by The Boss in the music that I choose to enjoy, but another man has earned the rights to the title of ALL TIME FAVORITE (at least for now). A musical genius, this man churns out literally hundreds of songs each year, and has released as many as 3 full length albums in a single year (though, 29 sucked). Ryan Adams (not to be confused with Bryan Adams) has released 11 albums over the last 8 years, and I own every single one of them. He provides me with nothing but auditory pleasure.

Aside from the stockpile of hundreds of songs he has recorded, saved for a rainy day (god, I’m going to be in musical heaven when the guy dies), Ryan is impressive because every single album he releases manages to sound distinctly like Ryan Adams while creating an entirely new sound for himself. Basically, I think the most straight forward way to put it, is that Ryan Adams is exact opposite of Nickelback in every single way. And we all know that’s a good thing. (Does anybody think Nickelback is aware of how much they suck? Frankly, I’m concerned if they aren’t).

Ryan Adams is the closest thing to a true rock and roll asshole that exists anymore (though, if you ask him, he doesn’t think he’s an asshole), and he puts on a damn good show. He voluntarily kicked his heroine and cocaine habit, and married Mandy Moore, which takes a great deal of the edge of off him. I mean, Mandy Moore. Lame. Parker Posey seemed more appropriate. And the drugs weren’t bad for the image, either. But, that aside, he has continued to produce some seriously good tunes, and for that I thank him.

I can absolutely assure you that you have heard the musical stylings of Mr. Adams before, but I am also fairly certain that you have not cracked the surface of what the man has to offer.

Originally a member of Whiskeytown, and currently backed by The Cardinals; Ryan Adams is pure genius, solo or with a band, and I’m not sure what else there is to say about him. I’ve heard him considered over-rated, and maybe he is by some of his fans, but the fact that he is not a worshipped household name means that he is under-rated. Maybe people have forgotten that nobody writes their own music anymore, and that there probably isn’t a more talented and productive songwriter on the planet right now.

Check out this documentary from the Heartbreaker release.

And, because his sound is so continually different, check out two songs:

For wowing me at least once a year over the last ten years, for a decade of excellent music, for trusting himself, and for keeping me company most nights; I welcome Ryan Adams to Twenty-Three.

5. The White Stripes: Icky Thump
This album makes my body slowly convulse. The actual song “Icky Thump” is loud, hard, and painfully addictive.

4. The Be Good Tanyas: Blue Horse
Blue Horse is a pretty sing-a-long album that never leaves the player.

3. The Arcade Fire: Neon Bible
I fell in love with music all over again with this album. It echoes Bowie, tells sad ghost stories, and energetically cries into the future: “LET’S GO!”

2. Bright Eyes: I’m Wide Awake, It’s Morning
Conor Oberst can make you feel your mortality in such a beautiful way. Surprisingly, you find yourself happy and willing to do so.

1. Ryan Adams: Heartbreaker
This album seriously called me back to North Carolina. It’s always in the player during any road trip, as I wind myself in and out of the mountains.

Ryan Adams – Desire

Two hearts fading, like a flower.
And all this waiting, for the power.
For some answer, to this fire.
Sinking slowly. The wateras higher.
Desire

With no secrets. No obsession.
This time I’m speeding with no direction.
Without a reason. What is this fire?
Burning slowly. My one and only.
Desire

You know me. You don’t mind waiting.
You just can’t show me, but God I’m praying,
That you’ll find me, and that you’ll see me,
That you run and never tire.
Desire

År 2000 släppte Ryan Adams sin debutskiva “Heartbreaker”. Han tog då steget från hyllade, men utan ett riktigt genombrott, countryrockbandet Whiskeytown till, skulle det visa sig, än mer hyllad soloartist, som dessutom faktiskt fick ett genombrott. “Heartbreaker” var en skiva starkt influerad av Gram Parsons – kanske den första countryrocktrubaduren. Skivans, och Ryans generellt, mest magiska stunder “Oh my sweet Carolina” är dessutom en duett med Gram Parsons skyddsling och duettpartner Emmylou Harris.

Skivan blev inte bara Ryans Adams genombrott, i svallvågorna av “Heartbreaker” poppade även måååånga countryrocktrubadurwannabees upp. Den ena mindre genuin och mer anonym än den andra. Ett eget uttryck var inte att tänka på, och verkade inte behövas. Karriären kom av bara farten, med bara munspel, gitarr, rutig skjorta och tre mollackord per låt som bara antydde Gram Parsons eller nåt åt country/singer-songwriterhållet. Självklart fanns det, och gör fortfarande, massor av habila undantag i genren som bekräftar regeln. Men det började bli svårare och svårare att skilja ut dem i mängden svårmodiga dussinspelmän utan nåt nytt på repertoaren.

Därför var det alldeles alldeles underbart när Howard Eliott Payne, född i Liverpool med bosatt i New York, dök upp i somras. Lite från ingenstans, och när man nästan hade gett upp hoppet. Efter att ha spelat i rockbandet The Stands (som t ex turnerat med Oasis och The Libertines, ni vet, Pete Doherty post-Babyshambles) kände han sig “artistiskt frustrerad” och bestämde sig för att köra solo och istället satsa på folk/roots/americana-genren. Man tackar. I augusti i år släppte han “Bright Light Ballads” (som Sydsvenskan recenserar här)och precis som på Ryan Adams debut är det Ethan Johns som producerar. Det gör Ryans “Heartbreaker” och Howards “Bright Light Ballads” till musikaliska syskon, men med tydlig ålderskillnad, vilket är välkommet och till Howards fördel.

För någon kopierande countryrocktrubadurwannabee är inte Howard Eliott Payne. Texter, drivet och aggressiviteten i låtarna signalerar något annat. Nämligen självständighet, djärvhet och något som känns äkta, som säger att han har gått den extra milen för att få till just den frasen, eller den harmonin i låten. Utan att för den skulle inte ha respekt för genrens historia och storheter. Låten “Seven Years”, en duett med systern Candie, minner till exempel om Gram Parsons och Emmylou Harris bästa duettstunder.

Min favoritlåt på skivan är “Come Down Easy” med ett tungt, tuffande driv som ackompanjerar Howards fantastiska countryrockröst. Den, “Seven Years” och några låtar till finns på ett livealbum som släpptes i dagarna. Klippet nedan är inte riktigt representativt för hur grym “Come Down Easy” är, men visst, låten är väldigt bra även här. För Howard Eliott Payne har en riktigt hög lägstanivå, och gör sin musik på sitt sätt, vilket är befriande i genre med gott om dussinspelmän.

Lyssna mer:

Howard Eliott Payne’s Myspace-sida – med bland annat originalversionen av “Come Down Easy” (inte missa!) samt ett par spår från nya livealbumet.

A is for Alexi Murdoch- loving the voice
B is for the Bob’s- Marley, Dylan, Seger legends- with a song for every mood
C is for Creedence Clearwater Revival- the oldies are still the best
D is for John Denver- a great poet even if he isn’t considered cool
E is for The Eagles- who doesn’t love Hotel California
F is for Foo Fighters- Dave Grohl’s done good
G is for The Gaslight Anthem- the best new band around (and my other love- The Goo Goo Dolls)
H is for Tom Petty and the Heartbreakers- a recent discovery
I is for Iggy Pop- he may have sold out doing the insurance ads but still an original punk rock pioneer
J is for James, Jimi Hendrix and Jimmy Eat World- same name very different music
K is for Kiss- grown men in facepaint hell yeah
L is for Lynyrd Skynyrd- touring next year- I’m so there
M is for Mika- yeah right- Michael Jackson- the king of pop- enough said
N is for Neil Young- oh to have been there first time round
O is for Oasis- You either love them or hate them
P is for Pink Floyd- one of a kind
Q is for Queen- sing-a-long anthems that never get old
R is for Ray Lamontagne, Rod Stewart (a guilty pleasure), Rolling Stones and Ryan Adams- I couldn’t pick just one
S is for Simon & Garfunkel- love, love, love
T is for Tracy Chapman- heartfelt lyrics at their best
U is for The Undertones- Teenage Kicks is a classic
V is for The Verve- It’s a bittersweet symphony, that’s life
W is for The Who- Baba O’Reilly what a tune
X is for… I have no idea
Y is for Yusuf Islam aka Cat Stevens- sound track to your life
Z is for Led Zeppelin- still the best after all this time

Oral Greetings’ lead singer this week threw a drink at an audience member who persisted in shouting the titles of Kiss songs at the band during a recent Denver show. In a press conference held the next day, bassist Gene Simmons defended bandmate Ace Frehley, explaining that “this sort of behaviour has been going on for months now, and it’s causing great distress for all members of the band.” Drummer Peter Criss reinforced the point, expressing his “utter bewilderment” at “these inexplicable events,” adding that the outbursts were “not in the least bit funny.”

“I don’t know where people get off doing this,” he told reporters. “Just last month, my wife Beth called me while we were on the road.  Me and the boys were playing all night, so I couldn’t talk long. But I said, Beth, it’s only a matter of time before something bad happens.”

Each of the band members spoke publicly about the “unfortunate altercation” except the newest band member, guitarist Neil Tormount, who said he’s less troubled by the shouting than his band mates: “Yeah, for some reason it doesn’t affect me the same way. But I’m told Paul, who used to be in the band before me, got pretty upset too. I guess I’m just different somehow.”

The band hopes to put this affair behind them in time for the European leg of their tour. According to Simmons, “We’re really excited to go overseas with our new opening act, Ryan Adams. I really dig that song Summer of ‘69, as well as all his hits. It’s gonna rock.”

Here we are on Cherry Lane, prepared to let it rip

One of my favorite songs in recent years has been “Cherry Lane” by Ryan Adams.  I’ve always wanted to play it for my parents since they built a house on Cherry Lane and that’s where I grew up.  The reason I haven’t played this song for them is that it includes some swearing.  And not just any swear words either, the swear word.  The holiest of holies.  I just don’t know if my parents would enjoy the song much if they were busy washing Ryan’s mouth with soap.

Once while I was playing cards with my mom, my sister and her girlfriend, I let that word slip for no reason at all.  You know, the word.  My sister had just asked me a question and in the parlance of our time I responded with “I don’t [bleep]in’ know”.  Oops.  The moment I realized my mom had heard me I started in apologizing.  “Ah, mom.  Well, you see…[gulp]…we were having a good time and I wasn’ thinking of you as a parent but as a friend.  You know and sometimes I swear around my friends.”  She looked at me for a moment and then said very quietly “Well, your friend would like you to know that your mom is not impressed.”

My sister had her turn with the word when we were pretty young, possibly even as early as first grade.  What I remember is that my sister came home and told my mother in a very earnest and concerned way that she had heard the F word.  I can only imagine my mom’s reaction to her young daughter learning this word.  She acted fast and sat us both down.  She figured, rightly so, that having a talk like this with one sibling would only mean that the other would get a secondhand version that bore very little resemblance to hers.  My sister and I sat beside each other on my sister’s bed and prepared for the coming storm.  My mom then told my sister to go ahead and share her information.  And first my sister hesitated, worrying that even in her confession she would be angling for a grounding of mammoth proportions.  Finally, she summoned the courage and my mom said “Alright, tell me the F word”.  And my sister took a deep breath of air, braced for the worst and said “fart”. 

It was then that my mom had to quickly hide her surprise and amusement.  We were two very serious learners, there on the bed.  We were prepared for anything and just hoping that this ordeal would soon be over.  My mom talked to us about what words we could say instead of fart so as not to be offensive little gutter mouths.  Then she asked why the F word wasn’t polite to use.  Our discussion was very serious and determined.  Maybe this is why I get such joy in saying “fart” now.  Because at one point it was just about the worst thing that I could say.  Now my favorite swear word is “alarm clock”.

You got to watch the video…Then read…

Did you watch the video? Are you sure?

Okay. So that’s my favorite song by Ryan Adams set to an interesting collection of pictures. I got the song playing on repeat as I type this. It makes me cry. But that’s okay right?

It’s like finding a fossil. Something gone and extinct. A song about something that once lived but now is nothing but an imprint in mud and bone.  Love like a fierce storm. And a warm sunrise just the same.

When I picture love, real love. The kind that doesn’t waiver or depend on the weather, the entertainment value or the myth of coffeehouses and girl-talk. I get a picture of a farmer standing on the edge of his homestead, his face cracked and leathery. Beautiful but worn. Like an ancient mountain. Something that has stood in this place, his place for eons and no one has ever lived without knowing that mountain is there. And he’s looking out over a field of slowly withering and failing crop. His eyes deep and worried. Silent but so expressive he says more in this stoic expression than most men say in ten years of talking. At his sides his hands hang at his hips. Calloused and strong, but empty, so empty he could hold a world in them. And it’s going to be a long hard winter. There are kids to feed, there’s livestock to set a store by and a mortgage on the land that once was his free and clear. And he knows all this and isn’t really sure how it will work.

And here’s the love. See here comes his wife. She moves with grace, steadfast and somehow still girlish. She too carries her years in the first creases around he mouth and her eyes. Still young but yet ancient and wise. Her hips swelled by the life she has carried. A few children and the nature in all that. Her bosom is that of a mothers. But she hints at the wild and pretty girl she was when she first met her man. How they’d dance and run off to the woods. Where her cheeks would flush red and she’d breathe softly and ragged as he pulled her close and touched her in ways she never wanted to end. Those summer days are memories now, but she never forgets. And he’s still that handsome and determined young man in her eyes.

And she knows too what lays ahead. The hardship. The worries. But being a woman she is built for making well anything that ails. And she does a stock of what money they got hidden in a coffee can in the kitchen and set away in a cellar in jars. And she knows she can stretch out what they got. It’ll be no luxury and there’ll be no ease. But it will be alright, the good Lord will provide. He always has, through illness, birth and death. So she steps up to her husband. The man she took a vow before man and God to love till time eternal. She slips her hand into his empty hand and suddenly it’s full. Filled with love, strength, promise and reassurance that no matter how hard the wind may blow they’ll stand it down together. There is nothing on this whole world will turn her from him. And she knows he too is firm in this vow. Nothing need be said. Not a word. In silence they stand in a holy way, like the prayer of a child. Earnest and truthful.  It’s just how it is to be.

Yeah that is what love is to me. I just never met anyone else who is the same. Sure they’ve all promised and made vows and swore they’d be there. That they’d never want to be anywhere else. But then life gets in, I get in there and then other voices speak and it seems a promise is only as good as the moment and a vow is just what they say in the movies. The grass gets greener on the other side.And I am left to watch them go off. To move on. Lord knows I gave them reason enough. I do admit that and I know it’s never easy loving me, I creak and burn. I go silent and I get loud. I am not beautiful and I am always just a step from the dying. But I guess I figure if you meant forever you said forever.

Just lonesome I guess. Feeling like I am the only one of my kind out here amongst the things that move and bump in the dark. Wishing for someone to be what they say, just once.

Be well, be love.

Häromdagen släppte Norah Jones ett nytt album och den här gången går hon ifrån sin hissmysiga pianomusik och låter nästan singer-songwriter. Med god hjälp från min (gamla) hjälte Ryan Adams. Ville visst låta lite opolerad och rå, enligt intervjuer och recensioner i bland annat HD, Expressen och DN. Men hon har ju fortfarande en sammetslen röst, så det låter ju liksom inte Janis Joplin. Inte heller låter det country bara för att gamle gode Ryan Adams skrivit en låt. Men å andra sidan var det ett tag sedan Ryan själv lät country, om vi ska vara riktigt ärliga.

Vad många dock inte vet är att Norah Jones faktiskt KAN låta country, bara hon vill. Och det vill hon i bandet The Little Willies”, och hon/dom gör det bra. Låter country alltså. Men så är det också ett coverband med idel ädel nobla musiker som alla huserar i New York och till vardags spelar med artister som Martha Wainwright och Diana Krall. Förutom bostadsort har de fem medlemmarna, med Norah Jones i spetsen, även det gemensamt att de hyser en stor kärlek till country musik. Efter att ha jammat tillsammans på klubben The Living Room i New York några gånger, och ett par välgörenhetsevenemang, insåg bandet att fans uppskattade deras, i många fall synnerligen alternativa (läs upptempo) versioner av countryklassisker, att det var läge för en skiva. 2006 ger The Little Willies ut sitt självbetitlade album som innehåller smittsamt glada och frejdiga låtar/versioner som “I’ll Never Get Out of This World Alive” av Hank Williams, “Tennesse Stud” som bl a Johnny Cash gjort och “I Gotta Get Drunk” av Willie Nelson.

Om du tror att country är förknippat med släpig, gnällig, tempofattiga låtar i moll – think again. The Little Willies dammar av och livar upp nya och gamla klassiker på ett sätt och med ett sound som får dig att dansa på bord, stolar och fönsterbräden.

Vill du inte sövas av Norah Jones vanligtvis, förvisso behagliga men också slöa röst, höj ljudet på stereon/datorn och pumpa The Little Willies för glatta livet. För precis s känns livet när tonerna från detta spelglada band sätter tänderna i sina countryfavoriter. Tror du mig inte så lyssna på “I Gotta Get Drunk” nedan. Har du Spotify kan du för nöjes skull kan du jämföra med Willies version.

Lyssnar mer på Spotify:

The Little Willies – “The Little Willies”

Willie Nelson – “Both Sides Now”

Johnny Cash – “American Recordings” (med Tennessee Stud)

What in the name of Baphomet is a “stealth metalhead”?  Webster’s Dictionary defines the term as…well, it doesn’t define it.  But if I were to try my hand at being a dictionary, I would say that it’s someone who keeps their love for metal on the down low.  Sadly, I don’t know any stockbrokers or bankers with Black Sabbath on vinyl, so here’s the next best thing: celebrities!  Because everybody loves celebrities!

5.     Rivers Cuomo

“progressive metal”

It’s no secret that Rivers Cuomo loves metal.  From their earliest years, Weezer professed an undying love of Satan and all things evil, even going so far as to invoke the dark lord himself on several of The Blue Album’s biggest singles.  But long before the blood sacrifices that made him a teen pop sensation, there was Avant Garde.

Yes, my friends, that’s Rivers Cuomo on lead guitar.  Did you hear that?  Those licks!  That shredding!  That, my friends, is what we call “the metal”.  Unfortunately, Avant Garde failed miserably to achieve anything in the way of success, (which is surprising given that every hair metal band in the 80s had a record deal.)  This lead to the band changing their name to Zoom before disbanding completely, likely due to their inability to pick out cool band names.

4.     Phil Elverum

What do you mean I have to wait another week for my Burzum import?

Most of you reading this probably don’t know who Phil Elverum is.  It isn’t really surprising since most of you apparently suffer a brain embolism at the thought of listening to anything that doesn’t suffix with “core”.  Despite that, Elverum is our number 4 stealth metalhead.

Known mainly for his band, Mount Eerie, the first Phil on our list rose to indie stardom earlier this year with his latest release, Wind’s Poem – a record informed by countless hours of poorly engineered black metal that I don’t have any interest in listening to.  In a world where hipsters ironically latch onto Xasthur, it’s his unabashedly unironic love that puts him on our list.  We would’ve put him higher, but you’re all a bunch of cunts who would probably bitch about it.

3.     Demi Lovato

Unleash the fucking fury.

Demetria Devonne “Demi” Lovato[1] (born August 20, 1992) is an American actress and singer-songwriter. She is best known for her role as Mitchie Torres in the Disney Channel Original Movie Camp Rock and Sonny Munroe in Sonny With A Chance.

Which is probably why it was so surprising when she openly stated that she enjoyed Job For A Cowboy and Dimmu Borgir.  While both bands ultimately fall on our list of all time Worst Bands Evar, it still fills us with joy at the thought of fingerblasting her to “Run To The Hills”.  At the very least, we’re looking forward to her eventual split with Phobia (now featuring even more guitar solos from Kerry King) once she leaves the safety of her Disney Channel backers.

2.     Ryan Adams

sigh…

Much like our beloved Rivers, Ryan Adams has a not-so-secret love of metal.

Ironic or not, that shit slays.

1.     Phil Anselmo

We’re going to refrain from making jokes about Phil Anselmo lest he pull our balls out of our assholes.

“A ha!” you shout to no one in particular, “Phil Anselmo isn’t a stealth metalhead!  He was in one of the most popular metal bands of all time!  He even owns and operates Housecore Records – a label dedicated to bringing you the finest in metal-slash-hardcore!”

True enough.  Anselmo is largely known for fronting Pantera.  However, it is his credentials with side projects which earn him our top spot, often releasing more respectable albums from Christ Inversion, Down, and Necrophagia alongside shit like Cowboys From Hell.  Simply the fact that Pantera was not metal enough for Anselmo only cements our respect for the man.

Honorable mention: Apparently the singer from Jimmy Eat World worships Satan and listens to Godflesh or something.  Though we couldn’t be bothered to verify this information via Wikipedia, we would at this time like to speculate that the success of Jimmy Eat World may have nothing to do with their music and everything to do with blood orgies.

-Aaron

#89: Snow Patrol/Final Straw (2004) — I’ve never seen Snow Patrol live, but if there was ever an album that seemed fit for both clubs and arenas in would be Final Straw.  This isn’t even a ‘happy,’ record either. But the examination of self and relationships through the lyricism is phenomenal against it’s companion soundtrack. Check out: ‘How to Be Dead,’ ‘Chocolate,’ and ‘Run.’

#88: Local H/Whatever Happened to PJ Soles? (2004) — Local H are like a gust from the Windy City. No two-man rocks as hard as this duo – unless you count anything Billy Corgan and Jimmy Chamberlin did between 2001-2007. This album is probably the nadir of their career, deftly spinning their brand of straight up guitar rock with a rare pop sensibility. Check out choice cuts ‘California Songs,’ ‘Heaven on the Way Down,’ and ‘Halycon Days.’

#87: Wednesday 13/Transylvania 90210 (2005) — Two things that go together like peanut butter and jelly are punk music and horror (see The Misfits, The Horrors, The Cramps). I discovered these guys through Slipknot –> Murderdolls –> Wednesday 13. This started out being my fun, guilty pleasu…re record of ‘05. But four years later and I’m still giggling. Check out ‘I Walked With A Zombie,’ the title track and ‘Buried by Christmas.’ — featuring the great lyric: ‘All I want for Christmas is a custom-fit casket, with black velvet interior…oh yeah, and a bucket of chicken…’

#86: Placebo/Battle for the Sun (2009) — this is, hands down, my favorite band of the decade. Entering at #86, this year’s album sees the departure of drummer Steve Hewitt. Continuing in the polished vein of 2006’s MEDS album, it would seem the band has found it’s niche in alterna-rock culture. More songs for boys like me with hearts on their sleeves. Check out: ‘Bright Lights,’ ‘Happy You’re Gone,’ and ‘Kings of Medicine.’

#85: Sponge/The Man (2005) — These guys have been rockin’ hard for over a decade and a half. Their post-grunge, Detroit sound can be simplifed — it’s just damn good rock n roll. 05’s The Man was/is their hardest rocking album to date, takes no prisoners, and makes you wanna bang your head with an uncanny sensibility for hooks. Check out: ‘The Man,’ ‘Feels Like Love,’ and ‘Shittier Day Than Me.’

#84: Longwave/Secrets are Sinister (2008) — I remember seeing these guys at Valentine’s (1st Floor) with about 10-15 other people back in support of their 2003 debut and thinking, ‘these guys are gonna be big!’ Well, the band has taken the road less travelled and have kind of missed the mainstream success I initially expected. Has stopped them from putting out albums, though. I think this is the best, most cohesive album of the three in five years. Perhaps it was usage of producer Peter Katis (Interpol) or just stronger songwriting. Imagine Radiohead met the Strokes and you get the picture without the squonks. Check out: ‘No Direction,’ ‘Satellites,’ and ‘I Don’t Dare.’

#83: Ryan Adams/RocknRoll (2003) — the second entry for Ryan on my countdown. Yes he’s prolific, and yes one could fairly compare him to Neil Young. This album was exactly what it embodied – Rock N Roll. I remember this ablum from a number of road trips and it’s a great driving record. Perfect…parts throwback, perfect parts garage rock. Check out (though buying the album is well worth it): ‘So Alive,’ ‘Note to Self: Don’t Die,’ and ‘1974.’

#82: Alice in Chains/Black Gives Way to Blue (2009): sure, there have been bands who have been more prolific in the past 10 years, but who freakin’ cares? No disrespect to Staley, but as a cohesive, fantastic sounding album from track-to-track, this AIC release takes the cake! Some of Cantrell’s best writing. Check out: (one of the best tracks this year) ‘Check My Brain,’ ‘Your Decision,’ and ‘Private Hell.’

#81: Queens of the Stone Age/Era Vulgaris (2007) — After a disappointing 2005 release, I’d wondered if the loss of Nick Oliveri would do the Queens in. But Josh Homme was in one of the greatest stoner bands of all time! This is a trippy album that took me time to get into and it came at the end of 2007 when I realized how damn good (and diverse) the album was. Check out: ‘Misfit Love,’ ‘Sick, Sick, Sick’ and ‘Make It Witchu.’

#80: Pearl Jam/Backspacer (2009) — fourth studio album of the decade, but first in 13 years with Brendan O’Brien. This is the PJ I know and love. The band with a mission on it’s record to rock fast with abandon while at the same time writing songs with a sensibility to them. The other three albums over the past 10 years lacked a consistent theme. To some that was considered cool. Sometimes I like straight lines in my album rock. Check out: ‘The Fixer,’ ‘Unthought Known,’ and ‘Just Breathe.’

#100: Alien Ant Farm/ANThology (2000) — Besides the cover of MJ’s ‘Smooth Criminal’ this album boasted pop gems like ‘Courage,’ ‘Attitude,’ and ‘Happy Death Day.’ The great thing about the record is that it stood out as a cohesive pop rock album on the whole. Something the band couldn’t seem to do on subsequent albums…

#99: The Fratelli’s/Costello Music (2007) — one of the most unabashed fun albums of the decade combining 90’s Brit Pop (a la Oasis and Blur) with Punk (The Clash). The whole album has a swagger to it. Check out choice cuts: ‘Chelsea Dagger,’ and ‘Flathead.’

#98: Blue October/Foiled (2005) — ‘Hate Me’ was the modern rock anthem of the year in 2006, but it was the rest of the album that was the real jem. Heartfelt lyricism from Justin Furstenfeld and a musical backdrop that at times recalled vintage Peter Gabriel, while retaining a Post-Grunge soun…d that worked wonders on album opener ‘You Make Me Smle,’ and ‘Congratulations.’ Completely turned me on to the Houston band’s back catalog and an incredible live show, to boot…

#97: The Offspring/Rise and Fall, Rage and Grace (2008) — I have pretty much all of the Offspring’s back catalog, but Bob Rock has a tremendous ability to reign in a band’s focus as a producer. The band’s humor is intact and Noodles guitarwork still soars through the chug-chug of their true punk power chords. ‘Half-Truism,’ ‘You’re Gonna Go Far Kid,’ and ballad, ‘Fix You,’ are standouts.

#96: John Frusciante/The Empyrean (2009) — Frusciante has already established himself as one of the premier guitarists of the past 20 years, but none more cohesive than effort released earlier this year. A true record for guitar fans from 9+ minute opener ‘Before the Beginning,’ to album single ‘Unreachable,’ and personal favorite ‘Central.’

#95: Ryan Adams/Easy Tiger (2007) — Ryan Adams was one of the most prolific songwriters of the decade, but on 2007’s Easy Tiger, the pop polish seems to come a little easier and his southern rock struck a chord with a wider audience. Can’t miss cuts like ‘Two,’ ‘The Sun Also Sets,’ and ‘I Taught Myself How to Grow Old,’ highlight a full disc of album rock.

#94: Thirty-Six Crazyfists/Bitterness the Star (2002) — I remember Lou Mansdorf telling me to check these guys out when he was still with Roadrunner. I thought ‘Eh, I’ll give it a spin.’ And then…I got hit in the head with a shovel full of bricks. The absolute raw intensity of the band’s op…ening salvo on the world was jaw-shattering to say the least. While it seemed Roadrunner never fully understand what they had, I’ve followed the band since that day. Cathartic music for a troubled mind, at times. I’ll never forget seeing the band open for Mudvayne and One Minute Silence in a barn called Saratoga Winners years ago, meeting Brock and the guitarist and remembering how humble they were at the time. Seemed ironic a band with such power could be humble. Mudvayne could take a lesson. Check out: ‘An Agreement Called Forever,’ ‘Slit Wrist Theory,’ and ‘Left Hand Charity.’

#93: Devildriver/The Last Kind Words (2007) — Album #3 from former Coal Chamber frontman, Dez Fafara, and friends is as hard hitting as they come. A lot of detractors blame Devildriver for copying virtually every form of metal out there. They say imitation is the sincerest form of flattery a…nd this collection seems short on mimicry. From the opening thrash of ‘Not All Who Wander Are Lost,’ to the European-influenced ‘Horn of Betrayal,’ to the slinky, sludgy ‘ Monsters of the Deep,’ DD fail to disappoint.

#92: Cold/Year of the Spider (2003) — Cold’s most commercially successful album (thanks in no small part to radio’s reception of ‘Stupid Girl,’ co-written by Weezer’s Rivers Cuomo). But it’s Ward and company’s ability to escape typical nu-metal fare forged by Korn and Limp Bizkit, to cut to t…he chase with heartfelt lyricism, and maintain crossover sensibility in a modern rock landscape that would turn it’s back on the band by the time their third album was received in 2005. Fortunately the band is back with original guitarist Terry Balsamo and firing on all cylinders. ‘Suffocate,’ ‘Wasted Years,’ and ‘Sad Happy’ are standouts.

#91: Soulfly/Dark Ages (2005) — as one might notice already in my countdown, I have a penchant for metal. I was never a huge Sepultura fan, but Soulfly have continually ripped my face off, while also appealing to me with a world music/sount american tribal vibe that sometimes comes off as the vaied ‘eyes’ of the hurricanes that are built and swell in each album. 2005’s ‘Dark Ages,’ was a favorite and if memory serves correctly was the first full album with Marck Rizzo (formerly of Ill Nino) in the fold. While ‘Babylon,’ ‘I and I,’ and ‘Frontlines,’ all shred, ‘Innerspirit,’ ‘Riotstarter,’ and ‘Soulfly V’ create amazing tribal and Santana-like vibes. Cool shit.

#90: Doves/Some Cities (2005) — the opening drum beat and jangle of ‘Some Cities,’ will forever, indelibly be etched upon my ears. Despite the fact that my truck ended up in a ditch one snowy day in Vermont as ‘Snowden,’ played in the CD player, I still love the album. Perfect for a Sunday morning. ‘Some Cities,’ ‘Black and White Town,’ and ‘Walk in Fire,’ are personal favorites.

Also known as “Favorites of the Week”:

TV: Gotta say Curb Your Enthusiasm. Sunday night’s episode was really just top notch. I’m a recent convert to the Curb cult, but with episodes like “Table Reading”, I’m pretty sure that I’m in for life.

Music: “The Dark End of the Street” by Dan Penn and Chips Moman. Holy shit that’s an amazing song. I’ve probably listened to 5 different versions of this song within the last week and, even though I’m a little embarrassed to admit it, the Commitments and Cat Power versions are my favorites. There seems to be two different ways to play this tune: really digging into and embracing the minor chord built off the 7th scale degree in the verse, and shying away from it. These two versions own that chord and the melody around it so hard, and it makes me shake to hear something that beautiful.

Books: Kurt Vonnegut’s Hocus Pocus. This is a book that I’ve probably read 5 times in as many years, but every time I read it I get a little more out of it. That man has an uncanny skill for tackling pretty much EVERYTHING in one book while still providing a really entertaining and focused plot.

Food: Trader Joe’s Mac’n'Cheese. A blend of 4 non-dairy gourmet cheeses on top of delicious noodles. Who’s gunna argue?

Bar: SkyBar. It’s not really too fancy, and the gimmick of the telescope is not too in your face. That’s why I dig that place. Also $2 wells are pretty sweet too.

Restaurants: B-Line. Eat one of their carne asada breakfast burritos with their salsa and tell me it’s not love. I dare you.

Here’s a video cause that’s how I roll:

Here’s the best:

Here’s the worst:

Jesus, I love Ryan Adams but this is one of the most horrible things I’ve ever seen!

-Zach

Norah Jones – The Fall [Blue Note]

I have a confession to make, and when I make it I ask that you please don’t judge me.  Okay, here goes… I Love Norah Jones, that’s right with a capital L.  I know, I know, how can you take a music blog seriously when the main contributor to said site is a fan of such Mum-Jazz-Lite shite?  Well, we all have our guilty pleasures, and Norah Jones is one of mine.  Wow, that’s such a relief to get off my chest.

So anyway, The Fall.  Well it seems that Norah Jones may have just recorded an album that could sway the opinion of those who’d scoff at my admission of love for her, if only they’d give it a chance.

Roping in producer/engineer Jacquire King [Kings Of Leon, Modest Mouse, Tom Waits] as well as a smattering of collaborators as Ryan Adams and Okkervil River’s’ Will Shelf won’t harm her new found indie-lite credentials.  And neither will the music itself.  As you’d expect it’s laid back, but this is the kind of laid back you feel Norah Jones has strived to make ever since being crowed the queen of Jazz.
Jones’ warm and husky voice lends itself perfectly to this hushed, organ-led ‘Chasing Pirates’, a song so charming it feels like a hug from a missed loved one, a tone that couldn’t be further from the Blondie-esque ‘It’s Gonna Be’, a moment that see’s Jones saunter throughout with a swagger Mick Jagger would be proud of.

And though her collaboration with Ryan Adams isn’t as strong as the their previously released duet, ‘Dear John’ from Adams’ ’ Jacksonville City Nights, ‘Light As A Feather’ has just enough beauty within its country exploration to put some wishful thoughts into my head that these two will one day record a full length album together.

Overall The Fall is a great little album and a total joy to listen too.  It may not win-over those who’ll never get past Jones’ initial musical output, and it may not make Norah Jones “cool”, but who cares.  It’s good music and that’s all that matters.

The Fall – Released on 16th November, 2009 via Blue Note

Hoy retomamos nuestra sección de nuevos talentos, que últimamente estaba un poco olvidada. Hoy hablaremos de una joven neozelandesa, que me ha sorprendido, y que creo que si se hace una buena promoción de su música en Europa, es posible que en meses esté en nuestras listas de éxitos. Su nombre es Gin Wigmore y del álbum que os hablo se titula Holy Smoke.

Algo debe tener la muchacha cuando la banda que acompañaba estos últimos años a Ryan Adams ( no confudir con el de la B), haya decidido unirse al proyecto de esta joven neozelandesa. Y es que The Cardinals (Neal Casal, Brad Pemberton, Jon Graboff y Chris Feinstien) han grabado con ella, y se irán de tour juntos.

A los 16 años perdió a su padre víctima del cancer, y basándose en el dolor que le supuso su muerte, compuso una canción titulada Hallelujah, con la que posteriormente ganó un premio en Estados Unidos (International Songwriting Competition), entre mas de 11.000 aspirantes.

Ha tenido también bastante éxito, una colaboración entre ella y Smashproof, en la canción Brothers, y creo que ahora dará el salto definitivo a poco que le sonría la fortuna.

Os dejo una serie de videos para que la conozcáis. Espero que os guste.

Su primer single del álbum Holy smoke, titulado Oh my.

Under my skin. Utilizado por la compañia aérea de su país Air New Zealand. Canción bastante pegadiza, y con un piano de fondo que me encanta. De su EP (mini LP) lanzado en el 2008, es una versión del clásico de Cole Porter.

Sos. De su EP (mini LP) lanzado en el 2008.

Una un poco más lentita. These roses. De su EP (mini LP) lanzado en el 2008.

Podéis descargar su último trabajo Holy Roses, pinchando en la carátula.