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What Will Happen Next? Ryan Adams (Bedhead 5)


zero

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Do you ever get that feeling, and I know you all do, that a song has fundamentally changed your life forever? For me it's like thinking what would my life be without the music of the Band, the question is moot. The Band rests on my heart like a cancerous polyp attached to the lung too close to the big Pump to operate upon. Ryan Adams 'Strawberry Wine' is my new lump.

Strawberry Wine

...Oh god,

Don't spend too much time on the other side

Let the daylight in,

Before you get old and you cant break out of it

My old friend,

Cause its getting winter, and if you want any flowers

You gotta get your seeds in

And I worry about you, why? because you want me to

[color:blue]tears fall down

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I like Ryan a little less after hearing he's been frolicking with drugged-out hack-actor/singer and harlot Lindsay Lohan.

That is just about the dumbest thing you have ever said. By the way Zero, that September DVD was done by Danny Clinch in case you hadnt noticed. Jaimoe made sure he got it to me and I am forever in his debt for it.

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I like Ryan a little less after hearing he's been frolicking with drugged-out hack-actor/singer and harlot Lindsay Lohan.

That is just about the dumbest thing you have ever said. By the way Zero' date=' that September DVD was done by Danny Clinch in case you hadnt noticed. Jaimoe made sure he got it to me and I am forever in his debt for it. [/quote']

How is the video? I totally forgot I gave you that for Christmas.

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As fine as the Stella Blue is, likewise the Wonderwall, the Long Black Veil I would say is just passable, the one that really stands out for me cover wise is his Brown Sugar. In Ryan's hands this ode to the slave girl gets cooked on the tip of Jeff (and Tim) Buckley's 'Mojo Pin' making it seem like more of an ode to brown sugar sliding down the dropper's neck into the mainline vein. Just a thought.

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www.theherald.co.uk

Ryan Adams, Carling Academy, Glasgow

JOHN WILLIAMSON February 17 2006

Some 90 minutes into this largely solo and uniformly indulgent set, something finally connects Ryan Adams with his muse and colossal talent, and a version of Rescue Blues emerges that provides the first fully-satisfying moment of the evening. A mixture of mid-period Stones and peak-period Elton John, it is one of a decent number of songs Adams has penned that either match or emulate his heroes.

Reaching this point, however, is a slow, tortuous process. With a devoted audience willing to tolerate most of his many excesses, Adams's first set is a loose, messy concoction that, on occasion, hints at greatness, but most frequently delivers abject disappointment. At the outset he promises depressing songs and delivers Don't Get Sentimental On Me and Everything Dies. For someone who has released three albums in the past 12 months, to be introducing new songs suggests either a surplus of creativity or the lack of a good editor.

The latter seems the most likely explanation. Besides, the show is littered with half-baked ideas and rambling, mumbled monologues about car-sickness, pies and the smell emanating from his socks. Further patience is required to accommodate his drinking and smoking interludes, and when the real interval arrives, it is something of a relief.

The second part commences with more dallying before he is told in no uncertain terms by one audience member to cancel the peripherals and play some songs. A shift from guitar to piano and an acknowledgement of some of his better material from the Gold and Heartbreaker albums makes for an improvement, albeit with insufficient conviction to fully retrieve the situation.

The polite applause in anticipation of an encore is sadly reflective of what preceded it: an obtuse, random set that is more endurance than performance.

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