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Ryan Adams -《29》[MP3!]

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  • 摘要:
    发行时间2005年
    地区美国
    语言英语
  • 时间: 2006/01/31 21:05:34 发布 | 2006/01/31 21:05:34 更新
  • 分类: 音乐  欧美音乐 

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专辑中文名29
歌手Ryan Adams
资源格式MP3
发行时间2005年
地区美国
语言英语
简介

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专辑介绍:

(来自ent.sina.com.cn)

Ryan Adams:生活就是地狱,只有音乐最酷

音乐英雄

  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。

  小瑞安得到的第一件乐器是一架鼓,而他在他充满奇趣的音乐历险中走出的第一步是加入了他的第一支乐队。当他得到了平生第一把吉他后,处于躁动青春期的瑞安开始了自己词曲创作的生涯,这让他在青春期过度分泌的荷尔蒙有了发泄的地方,也将他的音乐冒险推到了更高的境界。很快他便深深地沉迷于创作中,按照瑞安自己的话来说,即使你不沉迷于毒品、也不沉迷于性,但是你总要找点儿事做来打发时间吧!

  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)。

  成功与失败

  “威士忌城”在我们这位英雄的音乐冒险历程中写下了浓重的一笔,它给瑞安带来了最初的成功和名声,但是它最终的解散也给瑞安带来了无限的忧伤和失落。“威士忌城”成立之初,凭着成员们的天赋很快便赢得了在乐迷中的声誉以及和“月食”(Mood food)唱片公司的一纸合约。一切似乎都走上了正轨,这个刚刚成立的乐队无论从哪方面来看都是前途不可限量的,他们将和影响过他们的前辈一样在音乐史上留名,等着他们的是无数的金钱、荣誉、疯狂歌迷们的尖叫。但是乐队的发展并非一帆风顺,当我们现在回顾“威士忌城”一路走来的种种时,我们看到它经历了各种困扰和失败。成员们努力了、抗挣了,但最终失败了。

  “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。

  瑞安认为“威士忌城”的解散部分原因是因为各个成员艺术上、性格上的分歧和不和,还有一部分原因是成员们害怕自己不能达到热情歌迷们的要求而不断怀疑自己从而失去自信,以及他们酗酒和滥用药物的问题。“毕竟,我们曾经叫做‘威士忌城’。”瑞安无奈而打趣地说。

  “威士忌城”的解散让许多热爱他们的歌迷伤心、遗憾不已,瑞安也为此抑郁、消沉。但在某种程度上说,这无疑是对瑞安的一种解脱。瑞安自己也在后来的采访中对记者说过:“到了‘威士忌城’的后期,有时候我自己都觉得乐队对我来说更像是一座噪杂的监狱,而现在自己则彻底从乐队的禁锢中解脱出来了。”

  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。

  同时瑞安也在为“威士忌城”最后录制的专辑《肺炎》的发行和唱片公司进行谈判。终于,《肺炎》在2001年5月由“公路”(Highway)唱片公司发行。瑞安的第二张个人专辑《黄金》(Gold)也是由该唱片公司发行的。

  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。

  经历了《黄金》的成功之后,瑞安和许多不同风格门类的艺术家合作录制了一系列作品,他从这些作品中挑选出一些自己比较喜欢和满意的歌曲,收录在了他2002年发表的专辑《破坏计划》(Demolition Project)中。这张专辑也保持了瑞安专辑一贯的高水准,没有使他不断扩大的歌迷群失望。

  我行我素

  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。”

  在单飞的这几年里,瑞安,我们热爱的音乐英雄,这位曾经的“威士忌城”的领头人,在个人发展的历程中同样制造着各种各样的新闻,不停地抓人眼球,瑞安永远知道怎样让自己精神抖擞地出现在聚光灯下。随着瑞安名气的日益响亮,也由于他在演出中和在公开场合中表现出来的狂放不羁,他也遭到很多媒体的批评。不过以我们的英雄我行我素、敢作敢为的性格,他当然不会因此而刻意去讨好媒体,也不会在媒体的批评前面甘拜下风。要是他这样做了,也就不是瑞安·亚当斯了。作为瑞安·亚当斯,他当然是和媒体针锋相对:“我不喜欢媒体,不喜欢他们对我的报道,无论是正面的还是负面的,媒体的影响有时候是毁灭性的,但是不幸的是,有些事情是我必须要做的,我可管不了他们这些人的说三道四。”瑞安怎样回应媒体对于他不是一位严肃音乐人的指控呢?他说:“有一段时间,差不多是《伤心人》发表时的那段疯狂时期,评论家和媒体总是问我关于摇滚、人生之类看似严肃的问题,而他们那些不断地、看似严肃的问题使我厌倦了。我其实对那些关于摇滚的所谓理论一无所知,我所知道的一切就是音乐让我觉得舒服,给我带来了乐趣。我热爱音乐,录制唱片就是我表达自己对音乐的热爱和自己想法的方法。首先,我猜我自己是一个死硬的乐迷,所以我可以为我热爱的音乐牺牲。我不评价自己,不用某种没有意义的理论限制自己的创作,更不会道貌岸然地讲那些大道理,音乐对我来说是一件很单纯的事情,我在创作时也总是让一切都顺其自然。人们总是喜欢在他们听到的音乐中找一些更深层次的意义,我认为一个人如果真从音乐中找到了深层次的意义,那也是他自己感觉和体会的结果。我只是为人们提供音乐,而不是告诉人们该怎样去感觉和体会,不是用一些无聊的话来限制人们的思想。”

  “原谅我,天使,原谅我,我对你的爱处于危险之中,处在变得令人厌烦的危险之中。”瑞安在《男孩》(Boys)中这样唱到,不过热爱我们的音乐英雄的乐迷们永远不用着急,瑞安永远不会变得令人厌烦。至少在他的音乐里,我们永远能找到新奇的趣味。他的音乐唱出了生活中很多我们共同的感受,尽管我们中的大部分人都没有瑞安这样的勇气把内心深处的某些感受大声说出来。也许这就是我们视瑞安为我们的英雄的原因。有时候我们没有说,但不表示我们没有感受到;我们没有说,并不表示一切都没有发生。我们平静的外表下是和瑞安一样在大声呐喊的内心。而瑞安,我们的英雄,他的音乐历程还将继续,我们等待着他给我们带来下一个惊喜,这位不按常理出牌的英雄也必将会给我们带来更多的惊喜。

"29"中文短介绍:

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.

"29"英文介绍:(amazon.com)

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

Heartbreaker
Gold
Whiskeytown, Pneumonia
Whiskeytown, Stranger's Almanac
Whiskeytown, Faithless Street

1

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.

2

Mission Accomplished!

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!

3

More Meatloaf

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.



专辑曲目

01. 29
02. Strawberry Wine
03. Nightbirds
04. Blue Sky Blues
05. Carolina Rain
06. Starlite Diner
07. The Sadness
08. Elizabeth, You Were Born To Play That Part
09. Voices


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