hissyfit: Albums for Life: 33: Ryan Adams: Heartbreaker

Friday, 22 March 2013

Albums for Life: 33: Ryan Adams: Heartbreaker

Come pick me up
Take me out
Fuck me up
Steal my records
Screw all my friends
Behind my back
With a smile on your face
And then do it again
I wish you would

I know folk who know folk who have worked with Ryan Adams.
Their common concurrence is 'tosser!'.
I have seen one or two bits of footage that reinforce this.
In particular a 'BBC4 Songwriter's Circle' that he shared with Janis Ian and Neil Finn.
Apparently they had rehearsed and were to do their own songs and then pitch in with each others.
Upon performance Adams removed any offer of collaboration, changed his songs and just acted aloof, distant, withdrawn. If you google the three names you'll see that things didn't end well.
Maybe Adams was just having a laugh at the old fogey's expense...

Gossip aside, when Adams split from Whiskytown he came out with this album pretty sharpish. Upon release in 2000 it was universally praised. Produced by Glyn John's son Ethan, he and Adams play everything on the album with the exception of some keyboards by Pat Sansone on three tracks. It also features vocal contributions from Gillian Welch and Emmylou Harris.

My manager called and said, 'You have 15 seconds to name this record.' My eyes focused on this poster of Mariah Carey wearing a T-shirt that said HEARTBREAKER. I just shouted, 'Heartbreaker!'

With his hands firmly on the wheel, Ryan produced a controlled and mature collection of mainly downbeat songs. He has released many great albums since, a criticism is that he's too prolific and seems to have lost any sense of quality control. I wonder if it's just that his generous output has made us him too familiar to us... we should really be grateful to the talented little cuss... I'm sure he'd agree.
And still, for me this debut remains his most engaging album. There's an intimate flow that marks it as cohesive singer/songwriting fodder of the highest order. Heartbreaking indeed...

Here's a version of 'Oh My Sweet Carolina' with Laura Marling (and a squeaky chair) stepping into Emmylou's shoes. It's followed by another live performance, of 'Winding Wheel'. Finally my favourite Adams song 'Come Pick Me Up' taken from the aforementioned 'Songwriters' Circle'. They might be quietly smoldering but check out the stunned admiration on the faces of Finn and Ian. Adams is mesmeric during that session; maybe the tension added to the intensity of the performance.
It's well worth checking out the whole thing if you have the time.

2 comments:

Anonymous22 March 2013 at 19:04
I love come pick me up but never knew who it was by.

Followed the google links and it is hilarious playground stuff

RE your Duncan Sheilk (sp?) post if you haven't already got it his latest 80s covers (it does what it says on the tin) is fantastic
http://www.amazon.co.uk/Covers-80s-Duncan-Sheik/dp/B004WOXL6U/ref=sr_1_1?ie=UTF8&qid=1363978990&sr=8-1

what works is that the originals are all so familiar even if the interpretations are very different

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Hissyfit22 March 2013 at 19:54
Thanks David. Ordered and anticipated.
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‘Jones’ is Trevor Jones; principle songwriter with the critically acclaimed duo Miracle Mile, where he works alongside collaborator, arranger and musical partner Marcus Cliffe. Together they have produced nine albums, the latest of which was 2012’s ‘In Cassidy’s Care’, rated ‘Album of the Month’ by HiFi News, with respected journalist Johnny Black noting that Miracle Mile were “far and away the most unfairly unsung musical wizards ever to emerge from this sceptered isle. Big on memorable tunes wrapped around honest-to-goodness emotionally involving lyrics.”

Trevor Jones has also previously produced four solo albums: ‘Hopeland’ (2009), ‘Keepers’, (2010), ‘To the Bone’ (2014) and ‘Happy Blue’ (2016). Co-produced again with Marcus Cliffe, ‘Carver’s Law is another triumph of intimacy.
Previous critical acclaim for Trevor Jones:

“Gorgeous, as ever. Trevor Jones finds the poetry in real life; gently beautiful and genuinely moving. You may cry.” The Sunday Times

“Masterpieces of subtlety and observation clothed in sumptuous, lush melodies.” R2

“Jones is in a class of one. Near-perfect explorations of the human heart. The beauty on offer here is enough to make you weep. It did me.” Americana UK

“Achingly tender.” Folk Radio UK

“Intellectually as well as emotionally engaging.” MOJO

"Meticulously orchestrated, careful and complex, this is canny songwriting leavened by bona fide humanity." Q

“Moves you to tears and refreshes the soul. Scintillating.” Maverick

"Gentle enchantment. The loveliest melodies you've ever heard.” Uncut

“Classic pop songwriting, gorgeously realised. Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving” The Times

Miracle Mile: A User's Guide by Johnny Black

Despite being based in a home studio in a rural backwater on the outskirts of West London, Miracle Mile chose to name themselves after a fictional gold rush main street half a world away where, according to adventure yarn spinner Jack London, ragged 49ers would blow their hard-won nuggets on booze and broads.
They apply a similarly unorthodox approach to their career in general. The band’s core duo of singer/guitarist Trevor Jones and multi-instrumentalist/arranger Marcus Cliffe have been relentless in their pursuit of the perfect song. Not the fastest, the gnarliest or the loudest, not even the most instantly commercial, but the song whose melody, lyrics, arrangement, performance and spirit might stand the test of time, giving pleasure to listeners not just for years but centuries.
They’d be the first to admit they haven’t yet found that perfect song and maybe never will, but I’d argue that their albums — the documentary evidence of that search — deserve a place alongside the best work of time-tested tunesmiths as elevated as Randy Newman, Elvis Costello or Tom Waits.

Marcus Cliffe wasn’t yet on board when the first album, Bicycle Thieves, arrived in 1997 but already it was evident that frontman Jones didn’t fit in with the prevailing mode. There was no rage, bitterness or self-loathing in his songs and nothing at all turned up to eleven. Instead, he offered meticulously orchestrated slices of ordinary human life, transforming the mundane into the marvellous with carefully crafted lyrics sincerely delivered. Even here, though, the hypnotic sample-based "Recycletwo" revealed a willingness to experiment that marked Jones out as more than just a pop craftsman in the vein of Crowded House or Aztec Camera.

What had started essentially as a recording project had become a five-piece live band by the time the follow-up, Candids, was released in 1998. Loaded with nagging guitar hooks and dynamic vocal interplay, it included one particularly affecting piece, "Small Ad," which featured just one line of lyric, the heart-rending couplet, "Baby’s shoes, never used." With those four words, Jones conjured up a yawning abyss of grief that other writers might struggle to evoke in an entire album.

Jones quickly realised that live performance was not his forte and retired to the womb of the studio for 1999’s third album, Slow Fade, which also saw the birth of the partnership that would lift Miracle Mile higher still above the norm. Marcus Cliffe, in demand as a player for Steve Earle, Emmylou Harris, Daniel Lanois, Mark Knopfler and others, was drafted in on upright bass.
Immediately the music took a more intimate turn, with Jones exploring the little things that illuminate the big things. Almost every song offers up at least one unforgettable line, like "I'd rather be ashes than dust" in "Everybody Loved You," or the concept of filling the void left by his loss of faith "with despair and metalware" in "Starwatching."
Slow Fade was further enhanced by the delicately filigreed swirls and swoops of England’s finest steel guitar maestro, B.J. Cole, whose style sat so well with Jones and Cliffe that he has become virtually a full-time member of the band.

And then, out of nowhere, catastrophe struck. Trevor Jones’ beloved sister died in tragic circumstances. It’s typical of the man that, rather than wallowing in his grief as he had every right to do, he dealt with his loss in the quiet, honest dignity of "Sister Song," the achingly lovely tribute that concludes the fourth album, Alaska. It can’t have been coincidence that the album, despite its meltingly beautiful musical landscape, was named for one of the coldest places on earth.

By the time of Stories We Could Tell in 2004, Miracle Mile were drawing critical plaudits in every significant British magazine and newspaper, along with comparisons to such pop pluperfectionists as Prefab Sprout and the Blue Nile. Critics were noting that Miracle Mile was fast becoming a repository of timelessly romantic music fueled by the same shamelessly emotional human concerns that inspired the great standards. More than this, it was being noticed that while most bands go into decline after two or three albums, Miracle Mile were getting better, perhaps because they’d avoided the trap of trying to be contemporary, and had no need to be more outrageous than the competition, largely because they didn’t see music as a competitor sport.

The sixth album, Glow, showed up in 2005 and found Jones and Cliffe further expanding their musical palette mixing Celtic folksiness with slow, semi-industrial percussion on the inspirational "An Average Sadness," blending Badalamenti guitars with Bacharach horns on "What Kate Did Next," and opening "Strange Sympathy" with a beautifully synthesised string orchestration before letting the song melt seamlessly into a laid-back country-rock rumination on the gap between aspiration and acquisition. Glow was also their most lavishly packaged disc, gorgeously presented at no small cost to themselves.

Album No. 7, Limbo, offered fifteen songs overflowing with sensitively wrought melodies and heart-fluttering lyricism. If it’s not a contradiction in terms, Limbo was even more quietly passionate than usual, deliciously understated and, at times, devastatingly tear-jerking.

‘Cassidy’s Care’ followed in 2012 and received similar critical acclaim.
Miracle Mile may just be too concerned with timeless quality for their own short-term commercial good. They’ll never sink a fang into the jugular when they can plant a whisper of a kiss on that sensitive spot at the nape of the neck and set off a tiny ripple that will, in the fullness of time, explode in the heart. I, for one, wouldn’t want it any other way.
Johnny Black

“Trevor Jones finds the poetry in real life; Marcus Cliffe anchors it in the sweetest pop. Gorgeous as ever. You may cry.”
Sunday Times

"Gentle enchantment. The loveliest melodies you've ever heard."
UNCUT

“Gorgeous melodies, hooks galore, intelligent lyrics that demand and repay careful listening, beautifully produced instrumentation, and an overall effect that combines poignancy and joy in equal measure. Music and words come together in a state as close to perfection as makes no difference, and leaves you with a delicious ache that makes you hug yourself with the sheer overwhelming joy of hearing such wonderful music. The beauty on offer here is enough to make you weep. It did me."
Americana UK

“A little oasis illuminated by musical creativity, glimpsed like a lovely mirage. Intelligent tunefulness that doesn’t kowtow to passing trends has always been as rare as fish fingernails, but it’s here.” Mojo

“Classic pop songwriting, gorgeously realised” The Times

“Moves you to tears and refreshes the soul. Scintillating.”
Maverick

“A tender sadness. Songs that have universal resonance.”
Netrhythms

"Trevor Jones has produced a gorgeous pop album that few will hear — unless there’s justice in the world.’ The Wall Street Journal

“Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving”
The Sunday Times