durdencommatyler wrote:Guys, I really like Ashes and Fire. I mean, it's far from his best, but it's a really solid alt country rock album.
Agreed. I really enjoy it. The show I saw on that tour (Music Hall, Joey) was incredible. So glad I found a copy of it. He played 16 Days!
verb_to_trust wrote:As attention whorish as this is it will be light years better than his last two half baked duds.
Taylor Swift is a huge RA fan. Has been for years. I can remember my ex showing me a pic of her on IG in her hotel room with Gold and Demolition on vinyl. This was like 2007 ish. So I wonder how much of it is her wanting to do it as well? Who knows.
"My balls feels like they're in a French press." ~ bodysnatcher
I guess I'm just mostly annoyed with the fact he's too much of a pussy to release Blackhole. His ego couldnt handle an album from his prime being loved at this point.
verb_to_trust wrote:I guess I'm just mostly annoyed with the fact he's too much of a pussy to release Blackhole. His ego couldnt handle an album from his prime being loved at this point.
But I don’t want those raw tracks to become a spectacle, where it’s about the warbling where I sound out of my mind. On those tracks, you’re hearing someone who’s really on the edge.”
: “There’s two versions of that record. There’s one where the vocals and the performances are really fucked-up. Then there’s a second version, which was the last thing I did when I was still messed up. Bits and pieces of that had to be stitched together to make the final product like a patchwork quilt, because some of its vocal takes are too fucked-up to release
cutuphalfdead wrote:Guys, nowhere does he say he's actually going to release this.
From a magazine article:
"I'm thinking of putting out my version of '1989' as a Tidal exclusive, but I really question whether I should because I don't want the focus on it to be how sad it is. But let me reiterate, just so that you remain aware of this thing I would prefer you not focus on: it's really sad. I actually recorded two versions of it -- the first version is like, really sad, and also really fucked up. Then the second version, it's almost unreleasable because it's so fucked up, and really incredibly depressing. It's important to me that you realize that, as an artist, I create my greatest, most vulnerable work when my life is careening off the rails, which happens often because I am an artist who is -- as you will remember from earlier -- fucked up, and also very sad. However, it is also important to me that you understand that this great work -- born out of being very sad and very fucked up -- is also destined to be my most mysterious, because sometimes when I am sad and fucked up, I use unusual effects on my voice, and the world is not prepared for me to release a record where I use unusual effects on my voice. It is critical to me that I be perceived as an artist capable of creating work that the world is not prepared for, because it shows that I exist on a superior plane of emotional awareness, just like many artists before me who have been extremely fucked up and sad but have also been perceived by the public as brilliant. This is essential to remember about me as you continue to read about the deep, artistically compelling projects I create for myself out of emotional necessity yet keep locked away, choosing instead to release rather run-of-the-mill singer-songwriter albums whose contents fall somewhere on the spectrum between early Whiskeytown B-sides and the kinds of songs that typically occupy the back halves of lesser James Taylor albums. This compromise is not my choice, but yet another sacrifice I must make for the good of the world -- this beautiful, sad, fucked up world -- which is not prepared for my sad, fucked-up music with unusual effects on my vocals."
**Ryan's new album Troubadour Blues (featuring the single "Sweet Monica") is available August 9 via Pax-Am Recordings
