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Artist: Ryan Adams
Album: Ten Songs From Live at Carnegie Hall
Bitrate: 218kbps avg
Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz
Label: Pax-Am / Sony
Genre: Rock
Size: 85.06 megs
PlayTime: 0h 51min 35sec total
Rip Date: 2015-07-23
Store Date: 2015-00-00

Track List:
--------
01. Oh My Sweet Carolina             5:26
02. Nobody Girl                      5:45
03. New York, New York               4:35
04. Sylvia Plath                     4:31
05. This Is Where We Meet My Mind    5:21
06. My Wrecking Ball                 3:39
07. Gimme Something Good             6:36
08. How Much Light                   6:10
09. Kim                              3:30
10. Come Pick Me Up                  6:02

Release Notes:
--------

After Ryan Adams finishes "Come Pick Me Up", his definitive song and the one
which ends both performances captured on Live at Carnegie Hall, he leans into
the mic and screams: "THATÆS IT! YOUÆRE SAD NOW!!! NOW YOUÆRE SAD!!! EVERYBODYÆS
SAD NOW! YEAAAAHHH!!!!" The thunderous applause lets you know that everyone in
attendance on this first night is in on the joke: Adams is big enough to play
Carnegie Hall now, because thousands of people have discovered that listening to
Ryan Adams alone is akin to giving your sadness a spa day. But "Come Pick Me Up"
actually transforms into something uplifting in a live setting these days. For
both the performer and the audience, ôRescue Bluesö and ôWhy Do They Leaveö and
ôAmyö are bittersweet, nostalgic and a platform for wisecracks and anecdotes.
The audience arrives with their dates and laugh at Ryan Adams, who gets to laugh
at himself. The original ache is gone and everyone can just admit to each other,
"man, weren't those days something?"

Live at Carnegie Hall makes AdamsÆ impromptu comedy the main draw: somewhere
within this three-and-a-half-hour package is one of the funniest standup records
youÆll hear in 2015. And the subject of nearly all of Ryan AdamsÆ jokes is Ryan
Adams. This is a career-spanning project, so "Ryan Adams" becomes a very, very
broad topic. Adams offers countless punchlines about the prevalence of tears and
rain in his music as well as his penchant for using this reputation to his
advantageù"Probably like 86% of you are on Paxil, so you understand about
depression. So... you're at a fucking Ryan Adams show," he cracks at one point.

The most cutting material aims at Adams' most self-serious phase, also known as
his "New York" phase. On records like Gold and Love Is Hell, Adams relied on New
York City to grant his music instant gravitas and urbane legitimacy. It was
literally personified on his biggest single ("New York, New York"), and his
residence in the East Village felt like method acting. At one point on Carnegie
Hall, he claims Love Is Hell highlight "Please Do Not Let Me Go" as one of his
proudest moments and a song he wrote out on a pizza box while stoned as fuck and
ruminating on the purpose of shoes.

Live at Carnegie Hall is available as a 10-song sampler and a 216-minute 6xLP,
though both versions have the casual Ryan Adams fan in mind. This isnÆt for the
hardcore Ryan Adams fan, the kind who will claim to have bootlegged B-side comps
and shelved records that bests anything heÆll ever publicly release. This isnÆt
Ryan AdamsÆ Greatest Hits or the Definitive Ryan Adams either, something that
will appeal to Whiskeytown and Heartbreaker fans whoÆve begrudgingly stuck with
him when he presumably lost his damn mind in 2003 and his edge on Easy Tiger.
The setlists are thorough, but disappointingly conservative, writing out nearly
all of his divisive recordsùnothing from Rock N Roll or 29, just a handful of
B-sides and only the Love Is Hell tracks long-established as fan favorites.

All of his selections here work beautifully with just an acoustic guitar as
accompaniment, and it all manages to cast his recent work in a positive light.
Since theyÆre all subject to the same arrangements and production, "Am I Safe"
or "Gimme Something Good" can be judged on the same scale as "Oh My Sweet
Carolina" and "My Winding Wheel". The performances themselves are flawless and
the recording is as well; everything is so crisp and clear that Carnegie Hall
might as well be your living room. But the later songs remain what they were on
record: tuneful, workmanlike numbers that canÆt possibly generate the emotional
payload of Heartbreaker but arenÆt really trying to. Ryan Adams' music often
gets called "effortless," which cuts both waysùit can sound elemental and
eternal and also like something he dashed off in five minutes. HeÆs very much
aware of this reputation as wellùAdams ad libs a presumably impromptu funk
number on piano based on a hypothetical text message exchange between Billy
Ocean and Michael McDonald.

It all highlights the various odd turns Ryan Adams' persona has taken over the
past 20 years. After his blatant crossover bid Gold, Adams released two records
in two monthsùone was too "rock", the other was too "sad" and both were
considered career-killers. He rebounded in 2005 with three albums that were
vastly superior but no more compromisingùin half a year, he was a honky-tonk
traditionalist, a Deadhead and Jeff Buckley. More recently, oddball vanity
projects Orion and 1984 give glimmers of hope that they may one day not be the
exception to the rule set by Ashes & Fire and Ryan Adams. But Live at Carnegie
Hall is the Ryan Adams Ryan Adams, the one who redefined himself at 40 years old
as three things no one thought heÆd ever be: reliable, consistent and a
consummate people pleaser.



This NFO File was rendered by NFOmation.net

Artist: Ryan Adams
Album: Ten Songs From Live at Carnegie Hall
Bitrate: 218kbps avg
Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz
Label: Pax-Am / Sony
Genre: Rock
Size: 85.06 megs
PlayTime: 0h 51min 35sec total
Rip Date: 2015-07-23
Store Date: 2015-00-00

Track List:
--------
01. Oh My Sweet Carolina             5:26
02. Nobody Girl                      5:45
03. New York, New York               4:35
04. Sylvia Plath                     4:31
05. This Is Where We Meet My Mind    5:21
06. My Wrecking Ball                 3:39
07. Gimme Something Good             6:36
08. How Much Light                   6:10
09. Kim                              3:30
10. Come Pick Me Up                  6:02

Release Notes:
--------

After Ryan Adams finishes "Come Pick Me Up", his definitive song and the one
which ends both performances captured on Live at Carnegie Hall, he leans into
the mic and screams: "THAT’S IT! YOU’RE SAD NOW!!! NOW YOU’RE SAD!!! EVERYBODY’S
SAD NOW! YEAAAAHHH!!!!" The thunderous applause lets you know that everyone in
attendance on this first night is in on the joke: Adams is big enough to play
Carnegie Hall now, because thousands of people have discovered that listening to
Ryan Adams alone is akin to giving your sadness a spa day. But "Come Pick Me Up"
actually transforms into something uplifting in a live setting these days. For
both the performer and the audience, “Rescue Blues” and “Why Do They Leave” and
“Amy” are bittersweet, nostalgic and a platform for wisecracks and anecdotes.
The audience arrives with their dates and laugh at Ryan Adams, who gets to laugh
at himself. The original ache is gone and everyone can just admit to each other,
"man, weren't those days something?"

Live at Carnegie Hall makes Adams’ impromptu comedy the main draw: somewhere
within this three-and-a-half-hour package is one of the funniest standup records
you’ll hear in 2015. And the subject of nearly all of Ryan Adams’ jokes is Ryan
Adams. This is a career-spanning project, so "Ryan Adams" becomes a very, very
broad topic. Adams offers countless punchlines about the prevalence of tears and
rain in his music as well as his penchant for using this reputation to his
advantage—"Probably like 86% of you are on Paxil, so you understand about
depression. So... you're at a fucking Ryan Adams show," he cracks at one point.

The most cutting material aims at Adams' most self-serious phase, also known as
his "New York" phase. On records like Gold and Love Is Hell, Adams relied on New
York City to grant his music instant gravitas and urbane legitimacy. It was
literally personified on his biggest single ("New York, New York"), and his
residence in the East Village felt like method acting. At one point on Carnegie
Hall, he claims Love Is Hell highlight "Please Do Not Let Me Go" as one of his
proudest moments and a song he wrote out on a pizza box while stoned as fuck and
ruminating on the purpose of shoes.

Live at Carnegie Hall is available as a 10-song sampler and a 216-minute 6xLP,
though both versions have the casual Ryan Adams fan in mind. This isn’t for the
hardcore Ryan Adams fan, the kind who will claim to have bootlegged B-side comps
and shelved records that bests anything he’ll ever publicly release. This isn’t
Ryan Adams’ Greatest Hits or the Definitive Ryan Adams either, something that
will appeal to Whiskeytown and Heartbreaker fans who’ve begrudgingly stuck with
him when he presumably lost his damn mind in 2003 and his edge on Easy Tiger.
The setlists are thorough, but disappointingly conservative, writing out nearly
all of his divisive records—nothing from Rock N Roll or 29, just a handful of
B-sides and only the Love Is Hell tracks long-established as fan favorites.

All of his selections here work beautifully with just an acoustic guitar as
accompaniment, and it all manages to cast his recent work in a positive light.
Since they’re all subject to the same arrangements and production, "Am I Safe"
or "Gimme Something Good" can be judged on the same scale as "Oh My Sweet
Carolina" and "My Winding Wheel". The performances themselves are flawless and
the recording is as well; everything is so crisp and clear that Carnegie Hall
might as well be your living room. But the later songs remain what they were on
record: tuneful, workmanlike numbers that can’t possibly generate the emotional
payload of Heartbreaker but aren’t really trying to. Ryan Adams' music often
gets called "effortless," which cuts both ways—it can sound elemental and
eternal and also like something he dashed off in five minutes. He’s very much
aware of this reputation as well—Adams ad libs a presumably impromptu funk
number on piano based on a hypothetical text message exchange between Billy
Ocean and Michael McDonald.

It all highlights the various odd turns Ryan Adams' persona has taken over the
past 20 years. After his blatant crossover bid Gold, Adams released two records
in two months—one was too "rock", the other was too "sad" and both were
considered career-killers. He rebounded in 2005 with three albums that were
vastly superior but no more compromising—in half a year, he was a honky-tonk
traditionalist, a Deadhead and Jeff Buckley. More recently, oddball vanity
projects Orion and 1984 give glimmers of hope that they may one day not be the
exception to the rule set by Ashes & Fire and Ryan Adams. But Live at Carnegie
Hall is the Ryan Adams Ryan Adams, the one who redefined himself at 40 years old
as three things no one thought he’d ever be: reliable, consistent and a
consummate people pleaser.



This NFO File was rendered by NFOmation.net


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