瑞安·亚当斯(Ryan Adams)，我们所热爱的这位音乐英雄，和大多数神话故事或现实生活中所有备受人民爱戴的传奇英雄一样，当他初来到人世间的时候只是个出生卑微的普通人。1974年11月5日，英国传统节日篝火之夜，当那天人们燃起熊熊的篝火，手持火把举行盛大的游行庆祝英国历史上新教对天主教具有历史意义的胜利时，大卫·瑞安·亚当斯(David Ryan Adams)——我们英雄故事的主角，出生在北卡罗莱纳(Carolina)杰克逊维尔的一个只有30,000人的小镇。看看瑞安从小生活的偏远而又闭塞的环境，似乎很难想象从这里走出的这个小孩将来会成为一个闪亮的摇滚英雄。不过世事难料，当小瑞安偶然发现一张“史密斯”(The Smiths)的唱片《无尽空虚》(Hatful of Hollow)时，他马上知道了自己一生应该努力的方向，他知道了上天早已给他安排了一条他能走向成功的路。
除了“史密斯”乐队，小瑞安还受到了各种各样音乐的影响，从朋克、“垃圾摇滚”(Grunge)到“滚石”(The Rolling Stones)的音乐，还有一种音乐对小瑞安今后的音乐生涯产生了强烈的影响，那就是他从祖母收藏的乡村音乐唱片中听到的声音。从乡村到摇滚，小瑞安一直在寻找一种能完全表达内心情感的音乐形式。
高中时代，瑞安加入了一支名叫“馅饼公爵综合症”(The Patty Duke Syndrome)的乐队，乐队的名字有点儿古怪，不过正适合我们这位特立独行的英雄。在这支乐队的两年里，瑞安受到了各式各样的训练，也学到了很多东西，当他离开乐队的时候，也就预示着一个真正的音乐英雄就要横空出世了。1994年，瑞安和鼓手斯基尔利特·吉尔莫(Skillet Gilmore)、小提琴手凯特林·加里(Caitlin Cary)、吉他手万德瑟尔(Wandscher)以及贝斯手史蒂夫·格罗斯曼(Steve Grothman)组建了一支乐队，这就是我们所熟悉和热爱的“威士忌城”(Whiskey Town)。
“威士忌城”在经过无数次的成员变动后还是消失了，但它给我们留下了美好的音乐，从成立到最后的解散，乐队发行了两张叫好又叫座的专辑：《不忠的街道》(Faithless Street)和《陌生人年签》(Strangers Almanac)。乐队在解散之前还录制了一张名叫《肺炎》(Pneumonia)的专辑。在录制这张专辑的时候，乐队成员只剩下凯特林·加里和瑞安自己，而这张专辑在完成之后也没能马上发行。
在伤感地和“威士忌城”告别之后，经过了一段时间的休息和自我反省，瑞安在一个全新的城市找到了使他重新开始生活和创作的机会，纽约就是这个充满了魔力的城市，我们的英雄要在这里开始激动人心的新冒险，翻开自己生命中全新的一页。瑞安在纽约安了家，他从这个包罗万象的城市中不断得到新的灵感。但当他的个人事业刚刚开始有一点起色的时候，仿佛是上天对我们的英雄的考验，瑞安又一次招到了重创，和他相恋多年的女友艾米·罗姆巴迪(Amy Lombardi)和他分手了，这对瑞安来说是一次极其沉重的打击，但和爱人分手的伤痛却使我们的英雄创作出了他最感人、最富有情感的作品：《伤心人》(Heartbreaker)。这是瑞安单飞后的首张个人专辑，这张饱含瑞安的心血和真挚情感的专辑一经推出就获得了评论家和歌迷的一致好评，瑞安甚至得到了像艾尔顿·约翰(Elton John)和诺伊尔·加拉格尔(Noel Gallagher)那样高的声誉。
和女朋友分手后，我们的英雄开始四处游历。在自由自在的巡游之后，他在洛杉矶定居下来。洛杉矶，这座天使之城给了瑞安新的启迪和创作灵感。而我们的英雄在他的个人生活上也有了新的开始，他遇到了女演员维诺娜·瑞德(Winona Ryder)，他和这位美丽的小妇人一见钟情，两人坠入了甜蜜的爱河。与维诺娜的相识给瑞安的生活带来了巨大的变化，这种变化也表现在了瑞安的作品中，他的第二张专辑《黄金》中的歌曲风格和《伤心人》相比有了极大的变化。专辑中有许多节奏明快、充满活力的歌曲。尽管受到了一些评论家的批评，但是《黄金》的销量仍然相当好，获得了商业上的巨大成功，它也得到了广大乐迷的肯定，是一张奠定瑞安在音乐界地位的作品。《黄金》中的多首单曲在英美两地的畅销单曲排行榜上都进入了前40位。《黄金》还为瑞安赢得了2002年“格莱美最佳摇滚专辑”的提名，同时专辑中的单曲《纽约，纽约》(New York,New York)获得了“格莱美最佳男歌手表演奖”的提名。
进入2003年，这是瑞安异常忙碌的一年，他推出了一张全新的专辑《摇滚乐》(Rock N Roll)，同时还推出了两张EP《爱就是地狱，第一部分》(Love Is Hell,Part 1)和《爱就是地狱，第二部分》(Love Is Hell,Part 2)。瑞安说，这些作品的发表对他来说很重要，他把它们献给那些喜欢和需要它们的人，它们反映了他在一段时期里的思想和生存状态。熟悉和喜欢瑞安的乐迷发现，《摇滚乐》和他以往的专辑有很多不同。很多乐迷早已接受并喜欢上了瑞安在《黄金》中的那种风格，他本可以继续，并将这种风格发扬成一种瑞安·亚当斯特有的风格，一种瑞安·亚当斯的标志，但是瑞安没有这么做，他不能停止其探索音乐的脚步。对此，瑞安这样说：“在每张唱片中都有创新，都和以前的我有所不同对我来说很重要。我不喜欢总是重复自己，我还没有到完全确立自己风格的时候。我还很年轻，我现在不想过早地将自己定型，那样音乐对我来说将失去很多乐趣，不是吗？而我做音乐就是为了找到生活中更多的乐趣。”
这是Ryan Adams (瑞安·亚当斯)筹备2年的第三张专辑<<29>>,这张专辑只有9首歌曲.全部出自Ryan Adams 个人的创作.全部描写他的生活,感情,也有对偶像的怀念!
Ryan Adams 这张新专辑的风格，归与摇滚有点牵强.歌曲大多以抒情为主，钢琴和吉他为旋律贯穿着整张专辑,我想这可能是Ryan Adams 想更多表达自己的生活情感，让乐迷们为之感动.
On his third release of a most prolific year, Ryan Adams takes a break from his band, the Cardinals, to fashion an introspective song cycle with stripped-down arrangements focused on acoustic guitar or solo piano. After the propulsive, self-mythologizing title track opens the album in brazen fashion, forging an unlikely bond of comparison between John Lennon's Plastic Ono Band and the early '70s Grateful Dead, much of the rest of 29 finds Adams at his dreamiest (the reveries of "Strawberry Wine" and "Elizabeth, You Were Born to Play That Part") and most rapturously romantic (the aching falsetto on the lovesick "Starlite Diner"). He continues to take chances and not all of them pay off, with the underwatery echo of "Night Birds" and the over-the-top dramatics of "The Sadness" showing the downside of self-indulgence, though "Carolina Rain" suggests he can return to the alt-country prime of Whiskeytown whenever the mood strikes. With the intimacy of the closing "Voices," Adams sounds less like he is singing a song than sharing a secret. Refusing to rein himself in or pin himself down, he sings on the title track, "You can't hang on to something that won't stop moving."
Recommended Ryan Adams Discography
Whiskeytown, Stranger's Almanac
Whiskeytown, Faithless Street
Darker, piano-heavy solo record; less country; wicked good
29, the third(!) Ryan Adams album of 2005, is dark, moody, elegiac, and brooding. And quite good. It is the kind of record who's charms are less obvious, and which unfolds itself to you over repeated listenings, when you least expect it.
Cold Roses and Jacksonville City Nights were pretty clearly country records, both cut with his new (and, it turns out, evolving) band the Cardinals. Here we get an Adams solo record, absent the band vibe and the country touches that flavor the two previous releases, and more of a serious singer-songwriter turn. Many of the songs are intricate and finely drawn stories and character studies, heavy on the narrative. Indeed the songs are all like little movies, as opposed to hook-laden slices of pop. This record is like midnight at the Indie Cinema multiplex.
The opening track, "29," is a rewrite of the Grateful Dead's "Truckin'"-so much so that I thought it was a cover version until the vocals started. But he keeps it darker and more Westerberg than Weir, with acoustic guitars, electrics, and harmonica front and center in the mix; for all the obvious similarities to the Dead tune, it is more garage rock than hippie anthem.
"Strawberry Wine" is a slow plaintive story song in waltz time, sparse instrumentation, mainly Ryan's voice and acoustic guitars. "Night Birds" is a piano ballad, another minor key song, with a nice dramatic sonic effect that blends thunder and electric guitar on the refrain, "In the ocean..." By now it is clear that this is a "down" record, closer to Love is Hell than Gold, although it is always perilous to try and define a new Ryan Adams record in terms of an old one.
"Blue Sky Blues" is another downbeat piano song, Ryan's voice and piano augmented by a string section that enters midway through the song to amplify his mood and lend coloration. For a song with "blue sky" in the title, this one dwells an awful lot on rain.
"Carolina Rain" introduces some of the country lilt of the earlier records, especially through some tasteful pedal steel behind Adams's story singing. "Starlite Diner" is another piano lament, this time about a lost love. "The Sadness" brings the guitars to the fore with a sort of Flamenco flavor, and the Spanish flair is deployed to bring drama to the song throughout. It is a highlight of the album, driving and visceral, yet still "small," in the way an Indie film is small, the way the whole record is drawn to scale.
"Elizabeth You Were Born to Play That Part" moves back to piano balladry. It is probably the prettiest song on the album, and serves as its climax and centerpiece, piano and acoustic guitar sweeping the listener away in a gentle swirl of melancholy as the protagonist laments yet another lost love. "Voices" closes the record out, dark and foreboding, barely there, invoking vaguely religious imagery.
Resist the urge to compare 29 to Adams's previous work; with an artist this prolific, if you keep expecting the last record, you will be continually disappointed. My wife's one sentence review of 29: "I like it; it's a little sad but I like it." It takes me 400 words to say what she nails in a sentence. A small record in a good way, a sad record in a good way, a beautifully cinematic record that will reward repeated listening. Adams completes the hat trick and has got to be the unquestioned artist of the year.
One of the most amazing feats in the last several years of music has to be the depth and quality of work that Ryan Adams has released in 2005. With this, the final of three releases in less than a year, he has provided a deeper look into his life than any of his previous releases. The concept behind the album is almost as interested as Sufjan Stevens' plan to release an album for each state in the US - one song for each year in Ryan's 20's. The result is his most personal, and compelling album yet.
The album starts with "29" - a rocking retrospective of his 20's, and the mistakes and regrets he has made. The comparisons to Grateful Dead's "Truckin" are obvious - but pay attention to the introspective lyrics, and not the heavy-handed borrowing from his idols. The album continues to tell interesting, albeit heartbreaking, stories of both Ryan's life and the other characters that he introduces - as he has on previous releases. From a storytelling perspective, the album may not get any better than "Strawberry Wine" and "Carolina Rain". They really are standouts not just on this album - but in Ryan's incredible career. "Strawberry Wine" is all about not wasting your years, and making sure that you "get your seeds in the ground" before it is too late to have a family - or as Ryan puts it, "flowers". "Carolina Rain" weaves a fascinating tale of a woman who leaves a wake of death and destruction behind her with each verse.
For fans of Ryan's piano ballads, there are some great one's on this album - "Night Birds", "Blue Sky Blues", and "Starlight Diner". Each song has it's own charms. "Night Birds" may be slightly flawed from a production standpoint, in that the end of the song seems a little to cheesy with the reverb effect laid on thick to symbolize the characters crashing into the ocean. It is still a very strong song lyrically. "Blue Sky Blues" is an upbeat song about letting go of the worries and troubles that you're feeling, and just letting your problems out from time to time. "Starlight Diner" is the one that was probably my least favorite on the album upon the first listen - but has grown to become one that I continually go back to. The tells the story of Ryan waiting in a diner for a woman, who seems to have blown him off. Haunting, and beautiful.
The two strangest, and most fun songs, on the album are "The Sadness" and "Voices". "The Sadness" is Ryan playing flamenco guitar. No - I'm not kidding. Listening to it, always makes me feel like a Western Gunfight is about to break out in a Leone film. The story told throughout the song is great - Ryan vs his demons. Using the flamenco guitar was a brave, and brilliant, move. "Voices" is about.... well, I haven't quite deciphered what it is about yet. It's just Ryan and an acoustic guitar. Hauntingly sad. Seems to be about Ryan loosing his mind - or at least that's how I've taken it. The vocal delivery on "Don't listen to the voices in the past, they lie" is great.
I've saved the best song for last - "Elizabeth, You Were Born To Play The Part". In my opinion, this is the saddest song that Ryan has ever written. It is about a friend of his who had a miscarriage late into a pregnancy, when they already had a name picked out, and never having really recovered. As heartbreaking as some of his music has been in the past, this song just tears your heart out and destroys you. The line "I'd tear myself in two, just to hear you breathe" is brilliant in its brutal honesty. How someone can have not gone through this themselves, and write something this touching and deeply moving, is amazing. Best song on any of the three albums this year.
To be honest, I downloaded this album about a month ago when it was leaked to the net - yes, I've already gone out and BOUGHT it today. The concept was too interesting for me to pass up the opportunity for a listen. Upon first listen, I was honestly disappointed. I didn't feel like it was as strong as Cold Roses or Jacksonville City Nights. Upon further listens, the impeccable songwriting has won me over. To those who have said Ryan should have chopped up the three albums this year, and created one great one - I ask you, "How?" Each album has its own feel, and serves its own purpose. Songs from this album would not fit well on JCN or CR - and vice versa.
Brilliant album, to end a ridiculously productive year for the most underappreciated artist going today. Buy this album - support this artist!
As Ryan said himself in an interview in Long Island Newsday "When Mom makes too much meatloaf . . . . we have leftovers." I am one of the most loyal ryan adams fans and of course went out and bought this album the Tuesday Dec 20th when it came out. To be honest, I was really disappointed with it and with Ethan Johns being on it because I trust Ethan especially. There are good points on it, the more country sound of "Carolina Rain" is a definite highlight. "29" really does sound alot like Trucker and it's definitely difficult to sit through the whole thing and not think that. Quite a few of the songs really drag, which is a similar criticism that I have for Love is Hell.
At the same time however, I can't criticize ryan too much because he always gives lots of material and for those music lovers even if it's too much music (alt-country/singer/songwriter) it's still great music. So although Cold Roses is definitely the best, and Jacksonville is considerably better than this, at least Ryan is an artist for his die-hard fans and doesn't care about the critics who think he should censor himself. He paints a much better picture of himself as a real songwriter who makes mistakes and has triumphs equally. So, I say don't buy this album unless you love ryan but at least appreciate his dedication to his own muse and the muse that so many "Ryan-Heads" follow so closely.
02. Strawberry Wine
04. Blue Sky Blues
05. Carolina Rain
06. Starlite Diner
07. The Sadness
08. Elizabeth, You Were Born To Play That Part