The Sun Also Sets

According to Billboard and other numerous sources, Ryan Adams is dissolving the Cardinals (for now) and taking an indefinite "hiatus" from music. Adams posted on his blog, "I am grateful for the time we have had and maybe someday we will have more stories to tell together." He went on to say, "I am however ready for quieter times as I think it is very evident I am struggling with some balance and hearing issues."

Whether it's health issues, a general disgust with his wavering reception, or just being burnt out from the scene, I have a feeling we are being Brett Farve'd here. The man needs music like we all need air to breathe -- he himself knows his lifeblood is music. I think it's a little too early to announce an indefinite retirement, especially when he's been so consistently prolific.

Maybe this time off (if it actually happens) will eventually spell out that elusive Whiskeytown reunion everyone's been anticipating. Or maybe Ryan actually thinks he will be a successful author. Who knows?

Stay Positive (Part 1)

As promised, I'm back to the 2008 retrospective stuff. I've decided the best of/worst of approach is getting a little played out and might reflect too much of pessimistic perspective. So from here on in, I'm gonna view the cup half full. Maybe this is a resolution I'll carry out into the new year -- who knows. I am just going to list the tops for the remaining major categories. These will be in traditional countdown fashion, as you'll see:

Top 10 Shows of 2008

Honorable Mention: The Gaslight Anthem @ Roseland Ballroom 10/13/08

Granted this band was designated the opening slot for a four-band bill, it might be a little controversial to to place in the top ten. However, this just goes to show how much I believe in the Gaslight Anthem. I'll give them my honorable mention spot. Churning out a majority of The '59 Sound's Jersey Shore-inspired catalog in the allotted 40 minutes, this was a make-or-break show for me. The fact that I continually rave about them will tell you how well that went. People are still talking about Gaslight's recent performance on Conan, so I think 2009 will only keep the momentum going for one of my new favorite bands.

10) Fountains of Wayne @ The Highline Ballroom 2/8/08

The saddest thing to consider about this New Jersey power-pop quartet is that they will likely go down in the annals of history as one-hit wonders for "Stacey's Mom." But like comrades Nada Surf, this band has produced some of the best pop-rock for the better part of the decade, and has been critically received for every album that's been put out. When I saw these guys in February, it was my first time at the Highline Ballroom (one of the better venues in Manhattan), so I was blown away by the sheer intimacy of venue as well as the slew of upbeat 3 and half minute beauties that were churned out with ease. Can't wait to see these guys again.

9) The Killers @ The Highline Ballroom 7/29/08

Same venue, MUCH different band. I was skeptical about the validity of this secret show because it was mysteriously easy to get tickets. As everyone knows, this is an arena-sized band -- for them to play the 600 person capacity Highline Ballroom was a little bit of a head scratcher. But when they did eventually come on, they knocked it out of the park. Combining the usual suspects with b-sides, lesser known tracks, and new songs "Spaceman" and "Neon Tiger," this show restored my faith in the band I hadn't really been into since college.

8) Ryan Adams & The Cardinals @ The Apollo Theatre 10/31/08

I know, I know. For someone who's a little too obsessed with this guy, the eight spot might seem a little out of place. This just goes to show how brilliant 2008 was for me in terms of concert attendance. Don't get me wrong; this was yet another classic Ryan Adams Halloween show -- the fact that it was at the legendary Apollo Theater was worth the trip alone. Skewing mostly new material, Adams decided it was a good idea to avoid the very songs that helped to build his strong fan base. I don't know how well this strategy was received by those in attendance, but it worked for me. His clean attitude has surely led to spot-on singing/guitar playing.

7) The National @ Brooklyn Academy of Music 2/23/08

Another legendary venue, another soon-to-be legendary band. This marked the first show of the year I'd been to outside of Manhattan, and let's just say it was worth the borough crossover. Matt Berninger's morose baritone set the tone for a memorably bleak winter evening (in a good way). Playing most of the songs off of many critics' top 2007 pick (Boxer), as well as host of old material I was admittedly unfamiliar with, this show officially made me a believer. I'm looking forward to this band's follow-up, which will hopefully see an '09 release.

6) Mark Kozelek @ The Highline Ballroom 6/13/08

I think it's pretty apparent which New York venue wins MVP this year for me. I think this show takes the cake for most anticipated concert of the year. Ghosts of the Great Highway remains one of the best records of all time for me, and by June I was REALLY getting into the most recent Sun Kil Moon album, April. Not to mention Kozelek's solo stuff AND his catalog with former '90's band Red House Painters. So yeah, a lot to look forward to. Mark was dead on -- distributing equally from all of his projects with finger-picking ease. "Lost Verses" was hauntingly beautiful. Enough said.

5) My Morning Jacket @ Radio City Music Hall 6/20/08

Without a doubt, this show was the most important performance ever for Jim James and crew. I remember seeing My Morning Jacket just three short years ago a D.C.'s 930 club -- a show that didn't even sell out. Since then, a lot has changed. I was skeptical about the band's booking at such a large venue, but after seeing James tear down the house with a near 3-hour performance, I knew there was no turning back. Shortly after, the band was booked for an MSG New Year's show. If you've got no New Year's plans just yet and don't want to spend the absurd $100+ "all you can drink" bar fee, this is definitely a worthwhile alternative. Live album surely to follow.

4) TV On The Radio @ Brooklyn Masonic Temple 10/13/08

For TVOTR to clock in at number four, this just goes to show how stiff the competition was this year. Definitely the most interesting venue of the year. The Brooklyn Masonic Temple is exactly how it sounds -- the performance space resembled the appearance and size of an elementary school gymnasium. This being said, it was impossible to not like this show. The band played the perfect blend of old and new on an evening that featured a full horn section for the majority of the show. Considering the hype that surrounds this band, I have a feeling it will be a while before I see them at a temple again.

3) Neil Young & Wilco @ MSG 12/16/08

Not to cut corners here, but I just saw this show last week and went into great detail a couple posts ago. Just scroll down to read all about it.

2) Fleet Foxes @ The Grand Ballroom at The Manhattan Center 10/4/08

Don't be deceived by the venue's name; there's nothing colossal about this ballroom located above the Hammerstein Ballroom. And quite frankly this is what made this show so special to me. The Fleet Foxes are hands down the most exciting success story of 2008. To see them play at such a tiny standing room venue was absolutely mind-blowing. These guys are about as hyped as Vampire Weekend, but unlike their '08 amigos, they are legitimately worthy of all this praise. Sweet harmonizing, precocious arrangements, brilliant musicianship, and the best possible attitude for a hipster-approved band are only a few things that make this Northwest quintet the best thing ever. Bonus points for the legendary beards.

1) Sigur Rós @ The Museum of Modern Art 6/17/08

This show will go down as the most transcendent in my book. For this was just not aural ecstasy by one of the best bands in the world; those who were in attendance we treated to a visual art exhibit beforehand by fellow Icelandic countryman Olafur Eliasson. The free Grolsch beer didn't hurt in helping to set the tone. Definitely the best cultural experience of 2008 for me. Refering back to an earlier post, "throughout the course of the night, the guys brought out their standard surprises, which included a full horn section, a wind section, and singer Jónsi Birgisson's trademark falsetto vocals/bow guitar playing abilities." A life-changing combination which easily made this the best show of the year.

"Rockin' In The Free World" (Literally...) - Neil Young/Wilco 12/16/2008 @ MSG & Oasis/Ryan Adams & The Cardinals 12/17/2008 @ MSG

Ok, so this is probably the only time I will consolidate two reviews in one post, but I couldn't think of a better reason to do so given my very fortunate situation this week. One of the best perks of my job is that it affords me free tickets to some pretty excellent shows. So was the case Tuesday and Wednesday night when I partook in back-to-back nights of Neil Young/Wilco and Oasis/Ryan Adams at the world's most famous arena. Considering the lack of sleep, the extended setlists, and the fact that my seats were nearly the same for each show, both evenings seemed to have bled into one -- further convincing me that I can do as damn well please/do one writeup.

Sadly, I was a Wilco virgin before Tuesday night. This band had been on my checklist for years (along with Radiohead and Death Cab), so it was a pleasure to cross them off despite the all-to-short hour that was allotted for them. This shortened stint didn't mean that they came out any less gangbusters. Jeff Tweedy was in really good spirits and looked legitimately happy to playing in front of the sold-out crowd. I've never seen an MSG opening band receive such a well-attended reception more so than these guys. This being said, most of the asses were already in the seats to watch these guys play their mellow folk/jam/alt-country blend of rock (note to promoters: if Kings of Leon and Interpol can headline the Garden, I think Wilco just made a pretty loud statement). Their 10-song set comprised of scattered material from their soon-to-be-classic oeuvre. The set kicked off with "I Am Your Face," a tune off of their latest Sky Blue Sky, before segueing into Yankee Hotel Foxtrot's confessional opening track, "I Am Trying To Break Your Heart." The boys got a little more upbeat with "Handshake Drugs" and "A Shot In The Arm" before mellowing it down easy with the jam-bandy "Impossible Germany." Nels Cline's incendiary solo received a warm reception and had the Garden crowd on its feet. Tweedy welcomed a trio of backup singers (later jokingly referred to as Puss 'n Boots) before busting out my favorite tune off of YHF, "Jesus Etc." Tweedy then announced the birthday of his 13-year-old son Spencer and brought him out to play drums on "The Late Greats." The audience thoroughly enjoyed this father/son moment, and Tweedy, in turn, responded with something along the lines of, "You are now a man, it's all down here from here." The band went on to play "Walken," another single of off SBS, before closing with the customary "I Am The Man Who Loves You." An hour of pure perfection.

Little did I realize that the evening was just getting started. Neil Young came on just after 10 PM with an elaborate stage set-up that included Native American statues, light-up letters, and a person painting abstract art in the background (knowing Neil, these will be auctioned off for some charity). I joked that the scene looked more like a garage sale than anything else, but when you consider all of the different elements of Americana that Neil has accumulated throughout his illustrious career, this mess of potpourri only seemed fitting. Mr. Young came out nice and loud with "Love and Only Love" off of 1990's Crazy Horse collaboration, Ragged Glory. The blaring guitars ensued with the classic rock station staples "Hey Hey, My My" and "Everybody Knows This Is Nowhere." The faithful in attendance, which included the old and the new, got its figurative rocks off during the opening chords of "Powderfinger," and the 63-old Young appeared as youthful and he did 35 years ago. His band proceeded to slow it down about with a relatively new number "Spirit Road" before blazing through a hair-raising version of "Cortez The Killer." Just when you thought a bulk of his hits were exhausted for the evening, Neil came out guns blazing with "Cinnamon Girl" -- his vintage signature falsetto tenor in full swing.

Neil gave the band a break for a bit in favor of an intimate set that included the Chet Atkins gem "Oh, Lonesome Me," an organ-arranged "Mother Earth," and the flawless solo acoustic version "The Needle And The Damage Done." Young's supporting band came back out to liven up the mood with a string of rockabilly-inspired songs that included "Cough Up The Bucks," "Fuel Line," and "Hit The Road." Neil then traded in his Les Paul for his Gibson acoustic and busted out litany of softer fan favorites that seemed to beautifully contrast the edgier start of the evening. "Unknown Legend" was followed by a pair of his most recognized Harvest-era songs: "Heart of Gold" and the chilling "Old Man." We got to experience the hoedown side of Neil with the bluegrass-tinged "Get Back To The Country." Every set has its lull, and this evening's occurred towards the tail-end of the show with the forgettable combination that was "Off The Road," "When Worlds Collide," and "Just Singin' A Song." But have no fear, there was absolutely no way Neil was going to let us down (needless to say he didn't). Young came back roaring with "Cowgirl In The Sand" before inviting Wilco (and other opener Everest, who I missed) to join in with evening closer "Rockin' In The Free World." And yes I will go on the record to say, this version was infinitely better than the multiple times I've seen Pearl Jam play it. The hour was already well past midnight, so I had assumed an encore was out of the question. Neil had already played over twenty songs and there's only so much a guitar-swinging, head-banging 63-year old can handle, right? Wrong. Neil came back with "Get Behind The Wheel" and finished the night off with a surprisingly spot-on version of "A Day In The Life" -- sound effects and all.

It is unfathomable to wrap your head around the fact that Neil Young is a 60-something rocker than is still in top form. Considering the shelf-life of most musicians and the fact that the man has had some near-death experiences, you would have thought there would be some frayed edges or loose screws after 40-plus consistent years in the business. Maybe for Bob Dylan. Not for Neil Young. The man is the most legendary rock act you can possibly enjoy these days (key word enjoy). He is one of a kind, so I implore you in all that is holy about rock music to please take advantage while you can.

Enough blabbering. On to night number two. I really wish the order of the concerts had been reversed. I love Oasis and Ryan Adams (obviously), but there's no topping Neil Young. It's almost an insult to see ANYBODY perform the day after such a legend. Despite this, I soldiered on and partook in some mid-90's Britpop. Beforehand, I was fortunate enough to witness Ryan Adams & The Cardinals play what I consider to be a curtailed encore performance of the Halloween show. Like Wilco, Ryan and crew were limited to just under and hour, and likewise, were only able to get through 10 songs. As usual, Adams' performance was as fluid as it's ever been. Very little stage interaction, and little variance from the set list from his recent tour. I won't go on about the details too much because nine of the ten songs he played were from Cardinology and Easy Tiger, and I think I've driven my stance of this into the ground. As packed as the Garden was for Wilco's performance the prior night, it was pathetically vacuous for Ryan. Perhaps a Ryan Adams/Oasis pairing didn't sit to well with the diehards as much as it did for me. I noticed there were a few cheers during closers "Come Pick Me Up" and "Magick," but other than this, it was a benign performance that will surely slip through the depths of the collective Oasis fans' memories.

As expected, Oasis came out roaring with a playback of "Fuckin' In the Bushes" -- the drum and bass intro song from Standing On The Shoulder of Giants. They've done this on every tour since so I can't say this came as a shock. The first actual song played by the band was the appropriately titled "Rock and Roll Star," a song that represents everything musically and egotistically that this band used to be. Contrast this with the next song, "Lyla," and you'll find a band that's lost its edge. Good thing the Gallaghers opted to lay low on its "fart in the wind" catalog that's only remained on the minds of those confined to Great Britain. For the most part, the Brits gave us Americans what we wanted to hear -- peak year '94-'96 Oasis hits. In between all of the dull new album drivel, we were given inspired renditions of "Cigarettes & Alcohol" (dedicated to the Limeys in attendance), "The Masterplan," "Slide Away," and "Morning Glory." Uncharacteristic to the band's typical stoic stage personality, Liam and Noel were actually quite talkative -- even going so far as mocking two sailors in uniform seated in the first couple of rows.

Much like Neil Young, the tail end of the set was chock full of tunes that put the crowd back into its seats ("Ain't Not Nothing," "The Importance of Being Idle," "I'm Outta Time"). But like Neil's "Cowgirl in The Sand" moment, Oasis resuscitated the night with a double shot of "Wonderwall" and "Supersonic." They left the stage to howls only to come back to give the crowd what it wanted. Noel and Andy Bell played a (mostly) acoustic version of "Don't Look Back In Anger" (an arrangement I've never heard before), and then brought the remaining band members back (sans Liam) to play the Noel-helmed "Falling Down," arguably the best tune off of Dig Out Your Soul. Noel asked if anyone in attendance happened to catch Neil Young the night before, to which he simply replied "Fucking brilliant." With Liam back in full tote, the guys played the final original song of the night, 1995's sweeping ballad "Champagne Supernova." What would an Oasis show be without a Lennon/McCartney cover? Two nights at the Garden, two psychedelic Beatles songs to close them out. This time I heard "I Am The Walrus," an Oasis live staple since I can remember.

Two days in the life, indeed.

12/16/2008

Wilco
You Are My Face
I Am Trying To Break Your Heart
Handshake Drugs
A Shot In The Arm
Impossible Germany
Jesus, Etc.
The Late Greats
Hate It Here
Walken
I'm The Man Who Loves You

Neil Young
Love And Only Love
Hey Hey, My My
Everybody Knows This Is Nowhere
Powderfinger
Spirit Road
Cortez The Killer
Cinnamon Girl
Oh, Lonesome Me
Mother Earth
The Needle And The Damage Done
Light A Candle
Cough Up The Bucks
Fuel Line
Hit The Road
You Don't Need A Map
Unknown Legend
Heart Of Gold
Old Man
Get Back To The Country
Off The Road
When Worlds Collide
Just Singing A Song
Cowgirl In The Sand
Rockin' In The Free World w/ Wilco & Everest
---
Get Behind The Wheel
A Day In The Life

12/17/2008

Ryan Adams & The Cardinals
Cobwebs
Crossed Out Name
Everybody Knows
Fix It
Off Broadway
Go Easy
Sink Ships
Natural Ghost
Come Pick Me Up
Magick

Oasis
Rock 'n' Roll Star
Lyla
The Shock Of The Lightning
Cigarettes & Alcohol
The Meaning Of Soul
To Be Where There's Life
Waiting For The Rapture
The Masterplan
Songbird
Slide Away
Morning Glory
Ain't Got Nothin'
The Importance Of Being Idle
I'm Outta Time
Wonderwall
Supersonic
---
Don't Look Back In Anger
Falling Down
Champagne Supernova
I Am The Walrus

*Pictures courtesy of BrooklynVegan.com

The Best of Times, The Worst of Times (Part 2)

Best Album Title of 2008:
Atmosphere - When Life Gives You Lemons...You Paint That Shit Gold!

While admittedly I have yet to hear a note (much less song) off the long-awaited album from this Minneapolis hip-hop duo, I am now more inclined to based on the record's title alone. Someone was handing out promotional stickers of this album's potty-mouth phrase, and I gladly swooped up as many as I could. Words to live life by.

Worst Album Title of 2008:
Ryan Adams & The Cardinals - Cardinology

If you were to judge Ryan Adams' latest offering solely based on the cover/title combo, this one would end up in the stinker. The artwork looks like it was designed for an 8th grade science project on Miscrosoft Paint circa 1993. Fortunately, the music does the talking here. Great album; terrible artwork and title choice. On a good day, Prince can get away with naming an album Musicology. Not so sure if Ryan's got the credentials just yet to add the "-ology" suffix to any of his.

Most Improved Player of 2008:
Death Cab For Cutie - Narrow Stairs

While this one was in the running for Worst Album Cover of the Year, I couldn't resist giving the award to MMJ (even though this one gives me a headache when staring too long). Ok, so let me explain this award. While the sports metaphor doesn't quite fit here (I understand that album cannot physically change/improve once released), this is the record that just got better and better the more I listened throughout the year. I was completely wrong when I gave this one the measly 6.5 in April. Although I still stand by the fact that "I Will Possess Your Heart" was a terrble first single selection (to go along with it 8+ minute length), the follow-up singles (and videos) were brilliant. Way to pick it up boys.

Worst Dropoff of 2008:
N*E*R*D - Seeing Sounds

Like Death Cab's rating, this one clocked in at a respectable 6.5/10. However, if I got a re-do, this album's score would be much lower. I can't think of a record that plummeted so fast off my radar (and consequently iPod) than N*E*R*D's third release. In fact, this one was so forgettable that I have to think twice to remember that Pharell and crew even released an album this year.

Best Surprise of 2008:
Nine Inch Nails - The Slip

Ok, so I'm talking about actual surprises here. Like having no idea about an album until it actually came out. This seemed to be a trend that got kicked-off last year with the now legendary In Rainbows experiement. Earlier this year, Trent Reznor gave us a freebie with the excellent single "Discipline." But little did we know that this was just the beginning. A couple of weeks later, he posted an entire album on his website as a gift to his fans with the simple message, "thank you for your continued and loyal support over the years - this one's on me." The most shocking part of all? This just happened to be his most focused effort since 1994's The Downward Spiral.

Worst Surprise of 2008:
Bloc Party - Intimacy

This one just goes to show that sometimes experiments don't always work out as planned. Bloc Party announced that they had entered the studio this summer with an expected 2009 release date for their third album. Then one day in August they surprised us all by announcing that the album would be ready for download by the end of that week. But unlike the Nine Inch Nails record, there were no freebies and apparently not much time thinking this through. Instead, we got a choppy record chock full of the experimental electronica bullshit that made A Weekend In The City so utterly dismissible. Sadly, this uber-talented band is now 1-2 in my book.

Best Album Hype of 2008:
Coldplay - Viva La Vida


I think I've made it abundantly clear that I didn't want to like the new Coldplay record. Considering how overrated and decadent this band has become, it makes it very easy to want to throw rocks at Chris Martin's head whenever he flamboyantly gallivants around the stage. But unfortunately, I gotta call a spade a spade and agree that this one lived up to the hype. Produced by Brian Eno, this one is better than anything U2 has put out in a very long time -- further proving that there's a new king in town. Rebounding from 2005's X&Y, Coldplay is a rare success story in the 2008 dismal realm that is mainstream music.

Worst Album Hype of 2008:
Lil Wayne - Tha Carter III

Now I'll be the first to admit that there's a thing or two I can learn about hip-hop, but I just KNOW this album is utter garbage. When I hear about albums that are terrible yet get almost universal praise, I begin to question the sanctity of this industry (like I didn't already). Sometimes critics are lemmings, and this is just another example of it. Now Wayne is everywhere --- from Kanye West's album to the new Fall Out Boy. This stinks to high heaven.

The Cover And The Shape

Kudos to Stereogum for posting this. Coming off the heals of a superb New York Halloween date, Ryan Adams recently headed over in jolly old England for a brief British tour. In his downtime, the magnificent one paid a visit to BBC studios, where he got all modern rock on us (sort of). Rather than playing the standard Grateful Dead or Jerry Garcia cover, Adams opted to bust out a very solid, very Neil Young-sounding acoustic version of Foo Fighters' favorite "Times Like These." You can listen or download HERE.

Letting It Ride -- Ryan Adams & The Cardinals @ The Apollo 10/31/08

It might have been a Ryan Adams Halloween show at the Apollo, but other than the handful of spirited fans adorned in costumes, you would have been fooled. The only semi-frightening element this evening was the volume level -- one that was exceedingly high for an artist traditionally obsessed with the aural clarity of his performances. Other than this, it appeared as if Adams has finally accepted the credo from the closing song off of last year's Easy Tiger -- "I Taught Myself How To Grow Old". The once unpredictably raucous singer-songwriter has visibly matured, and his voice, stage presence, and overall performance are clear indicators of this change. Typically shaken up by crowd banter and song shoutouts, it's evident that Adams now lets all distractions roll off his back and simply lets the music do the talking. This was the case Friday night at a show that leaned heavily on the band's newer material from their most recent albums Easy Tiger and Cardinology (which came out last Tuesday).

The Cardinals opened up with one of the more aggressive numbers from the new record -- the rock-leaning "Cobwebs" -- before easing the crowd into a pair of soft alt-country gems, "Everybody Knows" and "Born Into A Light". Next up was the R&B-tinged single "Fix It," which showcased the band's penchant for beautiful three and four-part harmonies. Guitarist and fellow songwriter Neal Casal's backing pipes soared on this one, and would complement Adams' lead vocals throughout the course of the evening. The band didn't explore Ryan's older catalog until the eighth or ninth song, when the audience was finally treated to newly arranged version of one of Adams' better-known older tunes, "The Rescue Blues". From then on, we got the old strategically interspersed with the new. The jam-bandy "Peaceful Valley" proved that these guys are more than wannabe Grateful Dead one-trick ponies, as this tune segued perfectly into Heartbreaker's "Bartering Lines". Ryan then proceeded to deliver a stirring version of the Oasis super-smash "Wonderwall" before knocking out what was perhaps the evening's harmonious highlight, "Dear John".

After a brief intermission, the band came back strong with a second set, beginning with the song that started it all for the Cardinals -- 2005's rollicking "Let It Ride". Adams surprised the crowd with a plugged-in rendition of the usually soft "Desire" before playing a few more cuts off Easy Tiger and Cardinology. The quietest moment of the evening came when Adams stuck in an intimate number off of 2003's highly underrated Love Is Hell -- the confessional ballad, "Please Do Not Let Me Go". The singer then proceeded to show off his guitar chops with the riff-heavy "Cold Roses" and sped up version of "Shakedown on 9th Street" before letting Casal take helm with his own "Freeway To The Canyon". Strangely enough, it was after this song that Ryan made his first comments of the night -- a string of self-deprecating jabs about the melancholy nature of his own songs. From then on in, it was new material 'til the end. The band capped off an astounding 27-sound set with the final track from Cardinology -- the piano-laden "Stop".

It's only appropriate that Adams would skew his setlist to the fresher material he's written with the Cardinals. He's taken on a selfless level level of maturity -- one that that's clearly more focused on reaching new heights musically than preserving a persona. The singer, who would often grab headlines more frequently for his off-stage antics, has changed for the better. No worse off for the wear, he's letting bygones be just that and proving that we've only gotten a taste of what will surely be astounding prolific career.

The complete setlist:

1. Cobwebs
2. Everybody Knows
3. Born Into A Light
4. Fix It
5. Natural Ghost
6. Goodnight Rose
7. Sun Also Sets
8. Rescue Blues
9. Peaceful Valley >
10. Bartering Lines
11. Wonderwall
12. Dear John
13. Go Easy

14. Let It Ride
15. Desire
16. Grand Island
17. Sink Ships
18. Evergreen
19. Please Do Not Let Me Go
20. Two
21. Magick
22. Cold Roses
23. Shakedown on 9th Street
24. Freeway to The Canyon
25. Crossed Out Name
26. Like Yesterday
27. Stop

Mixology

Well, the day is finally upon us. We got ourselves a new Ryan Adams record to add to the library. An occasion like this will even get me out of the woodwork (Yes, been MIA for awhile. Bear with me!). It should be noted that today's release marks a milestone for the singer-songwriter -- Cardinology is his tenth studio release in his eight years as a solo (well, kinda solo) artist. And these are counting just his "official" releases. His unreleased albums tend to be the favorites amongst the diehards. So yes, point is, the man takes prolific to a whole new level. And while I've always maintained that, musically, quality should supersede quantity, I'll give Ryan free reign to do as he pleases. The bad news is that if you are as huge a Ryan Adams fan as I am, you've noticed that this new record hasn't exactly been well-received in the fan forum community. It's been prematurely lambasted on everything from it's title, album artwork (which does suck), and "what the hell was he thinking" tracklisting. The good news is that all of this bad mojo is pure poppycock. What we simply have here is Adams in rare form. Let me explain.

Like Bob Dylan, it's apparent that Ryan is never comfortable in one place for an extended period of time. His sound/inspirations tend to change as fast as the playlists on his iPod. While previous albums have maintained consistent trends (Heartbreaker was pure alt-country, Rock N Roll was strictly garage rock, 29 was mostly piano ballads), this one is all over the place stylistically -- hence the title. Cardinology seems to sum up the different styles that Ryan has embraced since Heartbreaker. The way I see it, this is kind of a greatest hits record that consists of completely new material (if that makes sense). Ryan even goes so far as dabbling in previously uncharted territory here -- the first single "Fix It" marks Adams' first foray into the R&B realm (hard to believe, but listen to the intro). "Magick," which has had it's fair share of criticism as of late, reprises Ryan's 2003 infatuation with abrasive 70's garage rock. Oddly enough, Rock and Roll is one of my favorite Ryan albums, so this is all gravy in my book. The painfully confessional "Cobwebs" and "Crossed Out Name" follow suit musically -- abandoning the pedal-steel guitar entirely we've all grown accustomed to as of late to favor a much more rock-influenced sound. "Natural Ghost" is Cardinology's most traditional-sounding Ryan Adams track; this one would fit beautifully on Cold Roses or Jacksonville City Nights. "Let Us Down Easy" is a sweet little ditty that proves Ryan has done his homework in Blues 101. The record wouldn't be complete without a piano-laden number. Fans of Love Is Hell will embrace the melancholy "Stop," which closes out the record, and is incidentally perfect seasonal music for late fall/early winter.

Although longtime fans might be initially turned off by Ryan's musical ADD on this one, I am predicting that Cardinology will receive some acclaim once the dust settles and it inevitably dies off the charts in a couple of weeks. Although there is admittedly no rhyme or reason to the album's sequencing, if you take the record track-by-track, you be hard pressed to find a bad tune. Taking this into account, this is the perfect chance to get on the bandwagon. If you haven't given Adams your attention for the past eight years, now's the chance to see what he's all about. Think of Cardinology as one of those sampler appetizer platters you get at TGI Fridays; you get all the killer and none of the filler. And as someone who loves to eat, this is never ever a bad thing.

My Rating: 8.0/10

P.S. See you Halloweenheads on Friday. If you don't know what this means, don't worry about it!

Halloweenhead 2k8

As predicted by yours truly, Ryan Adams & The Cardinals have added a New York City date to their current outing. In the spirit of last year's dubbed "Halloweenhead" show, the guys are getting back together to play again on Halloween. If this becomes an annual tradition (which it's looking like), I am going to be one happy camper. The better news -- the Cardinals have forsaken the overrated Hammerstein Ballroom this year and will doing it all at the legendary Apollo Theater in Harlem. Which is 100% badass. The presale has unfortunately ended, but tickets "officially" go on sale tomorrow night at 10 PM. You read that right, PM not AM.

Beautiful Sorta

And in the "yesterday's news" file, Oasis have confirmed the speculated late-fall tour dates that so many people have been talking about. The better news is that Ryan Adams & The Cardinals will be the support for all dates. Finally, we get a NYC Ryan Adams date, sort of. The New York show will take place at MSG on December 17th, barring any freak stage incidents. It's as if the musical gods have answered my prayers. For one night only my favorite band from 1996 will be on the same bill as my favorite band from 2006. I find this amazing/weird at the all at once. Here are the dates:

Dec. 3: Oakland, CA - Oracle Arena
Dec. 6: Las Vegas, NV - The Pearl
Dec. 8: Denver, CO - Broomfield Events Ctr
Dec. 10: Minneapolis, MN - Target Center
Dec. 12: Chicago, IL - Allstate Arena
Dec. 13: Detroit, MI - Palace of Auburn Hills
Dec. 15: London, ON - John LaBatt Centre
Dec. 17: New York, NY - Madison Sq. Garden
Dec. 19: Camden, NJ - Susquehanna Center
Dec. 20: Fairfax, VA - GMU Patriot Center

The new Oasis album, Dig Out Your Soul, comes out on Tuesday.

Cardinal Rules

The tracklisting for the new "Cardinals" record, Cardinology, has been revealed. The songs are finished and, as reported earlier this week, the album is slated to come out in late October. Word on the street is that this one is more concise and less alt-country sounding than some of Ryan's previous Cardinals offerings. Considering how I think I was the only person who REALLY loved Rock N Roll, this gets me very excited. According to some message boards I tend to read, the first single is "Fix It". Here are the tunes:

1. Born into a Light
2. Go Easy
3. Fix It
4. Magick
5. Cobwebs
6. Let Us Down Easy
7. Crossed Out Name
8. Natural Ghost
9. Sink Ships
10. Evergreen
11. Like Yesterday
12. Stop

Supposedly, this is the album artwork. But I have my doubts because a) it's horrendous and b) it kinda defeats the whole "Cardinals" solidarity movement the band was going for. Who knows.

Group Work

As it turns out, the next Ryan Adams album won't be a "Ryan Adams" album at all. The "fabulous one," as he's been called by Elton John, is giving his longstanding backing band full credit on the new record. No "Ryan Adams," no "Ryan Adams & The Cardinals" -- just "The Cardinals" here. The album is tentatively called Cardinology and is due out in just over a month -- October 27th to be precise. Critics have knocked Adams for his prolific ways, often citing than the man focuses too much on quantity versus quality. But I beg to differ; Adams really couldn't release a bad record if he tried. And if the new material he's been testing out on the road is any indication of what we're in store for, this is going to be some pretty great stuff.

The List (Part 10)

For 100-91 (Part 1), click HERE.
For 90-81 (Part 2), click HERE.
For 80-71 (Part 3), click HERE.
For 70-61 (Part 4), click HERE.
For 60-51 (Part 5), click HERE.
For 50-41 (Part 6), click HERE.
For 40-31 (Part 7), click HERE.
For 30-21 (Part 8), click HERE.
For 20-11 (Part 9), click HERE.


10) Radiohead - Kid A (2000)
As far as I'm concerned, Radiohead's career can be defined by two parts: the mainstream, melodic Bends era, and the beautifully chaotic Kid A era. Although many will argue that OK Computer was the turning point in this band's legendary career, Kid A was the album that really showed this band's balls. There aren't many bands that would even attempt to mess around winning formula, but Thom Yorke and gang decided putting the band's reputation on the line was a more than worthwhile bet. And let's just say it paid off in a very big way. Everything Radiohead has done since this landmark album has garnered universal acclaim. Even Kid A's throwaway tracks -- 2001's modest Amnesiac -- is better than 98% of the drivel we're served by the countless imitators. And the best part is that I'm pretty confident the best is yet to come. Last year's brilliant In Rainbows is nothing to sneeze at.


9) The White Stripes - Elephant (2003)
We're finally in the single digits here, folks. I can't think of a better band in which to celebrate this milestone than The White Stripes. Considering how this is a countdown of the best albums since 2000, The White Stripes are the poster children of what it means to kick ass in the new millennium. Aside from being one of the most prolific bands of this new era, these guys couldn't make bad music if they tried. I've been contemplating which album of theirs to include in the top ten, and it should come to no surprise that I've chosen none other than Elephant -- the album that launched this duo into superstardom. If there's any modern guitarist that can carry on that blues/rock legacy of say a Clapton or a Hendrix, it's unquestionably Jack White. And it doesn't hurt his case that he happens to do a spot-on Elvis impersonation in the underrated Walk Hard.


8) Sigur Rós - Ágætis byrjun (2001)
Technically, this album was released in 1999 in the band's native Iceland. But it didn't emerge stateside until 2001, so yes, this one earns a coveted top 10 spot due to technicality. Translated into English, Ágætis byrjun literally means "an alright start". Indeed. Whether you see this as being arrogance or modesty, there's no doubting how influential this band has been for the better part of the decade. They've singlehandedly made ambient music acceptable once again. And oddly enough, they seem to be doing the exact opposite of Radiohead -- their most recent material is as mainstream and radio-friendly as they have ever been. I saw this band at the MoMA earlier this summer and was absolutely blown away. Not too many bands can pull off the bow/guitar combo as well as these guys can.


7) The Shins - Chutes Too Narrow (2003)
It's an undeniable fact that New Mexico's best band hit it big thanks to Zach Braff. Despite Garden State's 2004 theatrical release, oddly enough, none of the songs included in movie happened to be from 2003's Chutes Too Narrow. Braff opted to pick and choose from the band's 2001 release, Oh, Inverted World -- which is an equally amazing album. This exposure boost helped out The Shins tremendously, and soon enough CTN was on critics' and hipsters' minds alike. Hell, even my college recruited this band to play our annual spring carnival. I don't know how Sub-Pop does it, but their roster is a virtual all-star team of indie rockers. Holding true to this sports metaphor, I'm guessing The Shins would bat cleanup between the Fleet Foxes and Band of Horses.


6) Sonic Youth - Rather Ripped (2006)
I couldn't be more thrilled about the Sonic Youth revival that is currently taking place. This band has consistently rocked it out for the past two and half decades, and their fan base has never been stronger. This might be partly due to Rather Ripped -- a return to form that's awfully reminiscent of classics Daydream Nation and Goo. Ellen Page may have confessed in Juno that Sonic Youth is "just noise," but this is hardly the case. Take a listen to Rather Ripped's standout track, "Incinerate," and you'll be instantly hooked on the distorted, yet melodic, riff that's one part early Smashing Pumpkins, and two parts Dinosaur Jr. As reported earlier, the poster children of indie rock are finally becoming indie again. After eighteen years on Geffen, the band's is coming full circle and signing to an undisclosed independent label with plans for a 2009 release.


5) Wilco - Yankee Hotel Foxtrot (2003)
The sheer brilliance of Wilco's Yankee Hotel Foxtrot is honestly on the same level of a Sergeant Pepper. Yes, I went there. The album's idiosyncratic depth makes this one the perfect record in which to test out the inner workings of a top notch stereosystem. Whether it's nihilistic numbness of "I'm Trying To Break Your Heart," or the stringed mellow gem, "Jesus, Etc.," Foxtrot is as perfect lyrically as it is sonically. And oddly enough, this may have very been the album that nearly put this fantastic band's career in jeopardy. Following this one up was not exactly an easy task for Jeff Tweedy and crew. And although recent efforts A Ghost Is Born and Sky Blue Sky are nothing to sneeze at, nothing Wilco has put out since Yankee Hotel Foxtrot has come close.


4) Ryan Adams - Heartbreaker (2000)
Yes, I PROMISE this is the last Ryan Adams album on the list. If it's any consolation, I don't think I have any more to work with. 2000's Heartbreaker was Ryan's first solo album since the break up critically-acclaimed alt-country supergroup Whiskeytown. If it wasn't already a foregone conclusion that Adams was the brains behind his former band, this album was living proof. Heartbreaker was the first solo showcase of Adams' incredibly gifted and heartfelt songwriting style. And it's no wonder where this one got it's name; just take a look at some of the albums song titles: "Come Pick Me Up," "In My Time of Need," "Why Do They Leave?". And take my word for it -- the songs are as genuine as they appear. If the Emmylou Harris-backed "Oh My Sweet Carolina" doesn't tug at your heartstrings, then you are just made of stone.


3) The Strokes - Is This It? (2001)
As it turns, out this was not "it"; turns out, this was merely just the beginning. When The Strokes burst onto the scene in late 2001, they really had no idea what they were responsible for igniting. Thanks to their charmingly sloppy blend of neo-garage punk, the band helped to usher in a much needed new era of rock that ended the god-awful reign of nu-metal. Soon after, this "the [insert band name]" trend became all the rage all around the world. As far as I can remember, we couldn't get enough of The Vines, The Hives, and yes, The White Stripes (although, this last one is questionable as far as "the" bands are concerned). And although I'll admit the content on Is This It is not exactly groundbreaking, given its influence and its infectiousness, it just gets the job done for me.


2) My Morning Jacket - Z (2005)
Anyone who reads this blog (all four of you) already knows I'm gay for My Morning Jacket. Although I've given Evil Urges it's fair share of praise, I really haven't had any good reason for elaborating about this band's masterpiece, Z,...that is until NOW! Where do I begin? Let's just say that if you do try to muster enough courage to attempt classifying this album, I'm pretty sure your head would explode on the spot. And quite frankly, I don't think Jim James would have it any other way. As soon as you think you've got Z covered, the album takes you for a complete 180. I could go on for hours here, but instead I'll be brief. If you happen to be a fan of dub, reggae, Southern rock, the blues, alt-country, alt-rock, and R&B, I promise that you'll take a liking to this album. Plus, unlike Evil Urges, this one rocks some pretty kick-ass album artwork.


1) The Hold Steady - Boys & Girls In America (2006)
Well here we are. The coveted number one album of the decade. You didn't actually think I was going to leave Boys & Girls In America off this list did you? As I've mentioned about a dozen times already, The Hold Steady were the first band to grace the cover of the Village Voice in over 15 years thanks to the buzz surrounding B&GIA. This is just one of the many accolades this Brooklyn-by-way-of-Minneapolis quintet has garnered in its short existence -- living proof that these guys are thankfully going to be around for awhile. While this album's content doesn't stray too far off the beaten path of its predecessors (characters Gideon, Charlemagne, and Holly all make their respective appearances) the band's dynamic has been tightened exponentially -- resulting in a finished product that really exhibits the unmatched prowess of The Hold Steady. I've given this record countless spins -- each time resulting in the discovery of a new element that I hadn't known existed beforehand. Like a movie that never gets old, THAT'S when you know you have great album.


Alright, guys. The countdown is DONE. What did you think? Obvious omissions? Praise? Hatred? Send them all my way in the comments or email, nsussman@gmail.com

Writers On The Storm

It appears as if Ryan Adams' perseverance is paying off. The prolific songwriter and notoriously nonsensical blog poster can soon add "author" to his evergrowing list of accomplishments. According to one of his numerous blogs, Adams received an email this morning from his editor confirming that this project is a go. The title of the book is Infinity Blues, and this is pretty much all that we know at this point. Considering Ryan's blogging idiosyncrasies, this is going to either be amazing or terrible. In other Adams news, a new Cardinals album is still scheduled for release this year. He is also criss-crossing the country this fall on a tour that has yet to have a NYC stop. Hopefully this will change in the upcoming weeks. According to Adams, here is the working cover for Infinity Blues:

The List (Part 8)

For 100-91 (Part 1), click HERE.
For 90-81 (Part 2), click HERE.
For 80-71 (Part 3), click HERE.
For 70-61 (Part 4), click HERE.
For 60-51 (Part 5), click HERE.
For 50-41 (Part 6), click HERE.
For 40-31 (Part 7), click HERE.

30) King of Leon - Aha Shake Heartbreak (2004)
Tennessee rockers Kings of Leon successfully evaded the sophomore slump with their American breakthrough Aha Shake Heartbreak. The Followill clan, who successfully took Europe by storm with Youth and Young Manhood, finetuned their sound to make a record that appealed to their own countrymen. They've since never looked back. Leadoff single "The Bucket" was met with considerable acclaim, which really got the ball rolling for these guys. It didn't hurt to have multiple songs featured in commercial campaigns and top-rated TV shows such as "Entourage". Evoking everything from early seventies garage rock to Southern blues, Aha Shake is simply 36 minutes of the decade's best rock music.


29) TV On The Radio - Return to Cookie Mountain (2006)
Any band that can swing a David Bowie collaboration gets the stamp of approval in my book. TV On the Radio's third full length album, Return To Cookie Mountain (a possible Super Mario reference?), did indeed feature Mr. Stardust's background vocals on the brilliant "Province". But this is just the tip of the iceberg, as the record contains a host of other guests that only further cement this album's standing among the best of 2006. The anthemic "Wolf Like Me" is what really launched this Brooklyn band into the indie-rock stratosphere. Big things are expected for TV On The Radio's follow-up, Dear Science, which comes out in just over a month.


28) The Streets - Original Pirate Material (2002)
The first thing that comes to mind when people initially hear The Streets is "England's answer to Eminem". However, if you skim below both Mike Skinner's (his real name) skin color and his delivery, you'll discover that there simply is no comparison. And despite what the pseudonym might imply, Skinner does not exactly lead a thug life. In fact, the content of The Streets' debut completely forsakes stereotypical hip-hop undertones all together -- to the point that some could argue that this is even a rap album at all. Hell, this one could very well fit in the notorious spoken word bin for all I care. But, if you want to get all technical, The Streets is considered "garage" music in the sense that it blends rap, two-step, and reggae. In any case, Skinner is a wizard of wordplay as is evident on a stellar debut.


27) Kanye West - Late Registration (2005)
If Kanye West were to hang up his glow-in-the-dark shutter shades tomorrow, there's no question that Late Registration would be considered his masterpiece. When Mr. West burst onto the scene in 2003, he took hip-hop by storm. Everyone became Kanye-crazy -- so as one can imagine, a lot was at stake for his follow-up. And let's just say he didn't exactly disappoint. Whether it was the Jamie Foxx-duet "Golddigger," or the Curtis Mayfield-sampled "Touch The Sky," Kanye took it to a whole other level with his poppy, radio-friendly blend of hip-hop. Hell, he even made Adam Levine of Maroon 5 fame tolerable with ballad "Heard 'Em Say". The success of this release prompted 'Ye to even release a live album called Late Orchestration, which was recorded at Abbey Road Studios.


26) The National - Boxer (2007)
The National are just another success story of relentless perseverence. Matt Berninger and gang had been around since 1999 and had been cranking out some pretty excellent records since 2001. However, they only recently started turning some heads last year with the near-flawless fourth album Boxer. Berninger's morose baritone single style is definitely an aquired taste, but if you give the band a chance, you'll discover some pretty deep material here. Just to give you idea of this album's accoladaes: Paste Magazine named it their album of the year, "Mistaken for Strangers" was #92 on Rolling Stone's list of 100 Best Songs of 2007, and yes, even Pitchfork (boo!) ranked Boxer #17 in their annual end of the year best-of list.


25) Bob Dylan - "Love And Theft" (2001)
What can I say? Bob's the man. After a forgettable run of albums in the 80's and early 90's, Dylan returned to form with 1997's Time Out of Mind. Earning critical acclaim from nearly every source (and even Album of the Year at the Grammys), this one proved that Bob still had a little gas in his tank. And although many thought that this record would be Dylan's swan song, he returned in 2001 with the equally brilliant "Love And Theft". And as the fantastic 2007 film I'm Not There depicts, this one explores Dylan's continually changing musical persona. Long gone are the days of early 60's folk, mid 60's electric rock, and pretty every other genre that Dylan has straddled throughout his legendary career. "Love And Theft," at its core, is a homage to rockabilly, jazz, jump blues, and country swing -- music that manages to even predate his folk days. How bout them apples?


24) My Morning Jacket - Evil Urges (2008)
I think I've driven my point home about this album, so I will spare you my accolades. For my complete review of Evil Urges, click HERE. When the dust settled, this one actually ended up received some pretty mixed reviews (most notably from arch-nemesis Pitchfork), but don't be fooled because Urges actually shows some growth for MMJ in a VERY positive direction. I really like how they progressed from their masterpiece, Z -- so much so that this one steadily gains some ground on its predecessor. I've said it before and I will say it again: My Morning Jacket is the best live band in the world.


23) Ryan Adams - Love Is Hell (2003/2004)
This is yet another controversial Ryan Adams pick, but hell, this one's just a classic to me. Love Is Hell was originally supposed to Ryan's highly-touted follow-up of completely new material since successful breakout Gold. However, one Adams' label listened to the material, they insisted that it was not "commercially viable" and scrapped plans to release it at all. As a result, Ryan was forced to quickly regroup and record Rock N Roll. Upon Ryan's insistence, Lost Highway compromised by choosing to release Love Is Hell as two separate EP's in late 2003 - Love Is Hell pt. 1 and Love Is Hell pt. 2. Both did much better than expected, prompting to release the album as initially conceived in 2004. And here's a fun fact, if any of you ever wondered where I came up with the title for this very blog's name, just listen to "Please Do Not Let Me Go".


22) Sun Kil Moon - Ghosts of the Great Highway (2003)
After splitting up the Red House Painters -- one of the more under appreciated bands on the '90's -- Mark Kozelek formed Sun Kil Moon with former Painters drummer Anthony Koustos. This move proved to be fortuitous, as Ghosts of the Great Highway soon became Kozelek's best-selling and most critically-received album to date. Inspired by a laundry list of deceased boxers (of all things), Ghosts proved to be a much more quiet and intimate setting for Kozelek. Most of the content on this record is acoustic-driven and lyrically more extroverted than the work from his former band. Drawing up comparisons from everyone from Nick Drake to Neil Young, this album only goes to show that Kozelek is one today's most gifted songwriters. If you've ever seen the Steve Martin/Claire Danes film "Shopgirl," Ghosts is represented in the soundtrack with the inclusion of "Carry Me Ohio," and "Lily and Parrots". As an added bonus, Kozelek himself has a small role in the movie.


21) Eminem - The Marshall Mathers LP (2000)
It boggles my mind that this album was released over eight years ago. I was a junior in high school and I recall fondly hearing "The Real Slim Shady" being incessantly blasted from the cars in the student parking lot. To me, this song was the high school equivalent of "Hey Ya". Ah, the days. And here's an even more mind-boggling stat: The Marshall Mathers LP sold over 1.76 million copies in its first WEEK. Today, in a era of a record industry meltdown, an artist would be lucky to sell this many copies in a YEAR. Needless to say, this record went on to sell 21 million copies worldwide and solidified Eminem as one of the most influential artists of all time. And although he's been laying low for quite awhile now, Eminem is supposedly releasing his forst studio album in four years in late 2008.