December 2009
“Stare into her eyes and then try and explain it
Try and explain it
But this shit just fucks you up.” —Ryan Adams & The Cardinals, Cherry Lane
Try and explain it
But this shit just fucks you up.” —Ryan Adams & The Cardinals, Cherry Lane
"The Shadowlands" by Ryan Adams.
I could listen to that song for the rest of my life.
(via feelingsintowords)
Listen
ryan adams | come pick me up
Aquarium Drunkard: Decade - Ryan Adams, Heartbreaker (2000)
What is it that makes us want to deconstruct art by units of time? Lists. We love making them. We love arguing over them. And here, on the verge of a new decade, we’re in a position to do the same again. What were the best albums of the past ten years?
Here at AD, we started talking it through and decided we weren’t going to add to the cacophony of lists being put out by various music pubs. There are enough of those. Since the beginning of October, Monday through Friday, we have been featuring posts detailing our favorite albums of the decade. Now with less than two weeks left in the last year of the first decade of the new millennium we are ramping up–highlighting our absolute favorites.
posted December 24th 2009, words by J Crosby [original link @ AD]
“I can still hear you laughin’,
Coming up the rickety stairs,
Laughin’ as the springtime filled your lungs with air.
Pink smoke rung out like the patches of your hair
Like violets” —Sink Ships
Coming up the rickety stairs,
Laughin’ as the springtime filled your lungs with air.
Pink smoke rung out like the patches of your hair
Like violets” —Sink Ships
“
Ring-a-ding-ding, sleigh bells ring
Ice breaks on the concrete in the city street
Ring-a-ding-ding, sleigh bells ring
Taxicab movies in our heads and cigarettes
Oh, my word
Parker, will you take my hand?
Parker, will you take my hand?
It’s Christmas time
Bridges close down on the L - I - E
Tiny lights fading out in Jersey City
Snow white room on the snow white clouds
Taxicabs disappear like keys in lost & found bins
Oh, my word
Parker, will you take my hand?
Parker, will you take my hand?
It’s Christmas time
I wish you were here with me now
It’s Christmas time
I wish you were here with me now
It’s Christmas time
But it’s summertime, summertime, summertime
But it’s summertime, summertime, summertime
Hey Parker, It’s Christmas
Merry Christmas if you’re celebrating. Thank you for reading this year.
“Today I watched the boats
Moving through the harbor
Walking on water
In your arms I’d stay
Forever if I could
Forever if I may
Keep me in your thoughts, don’t disappear” —So Alive
Moving through the harbor
Walking on water
In your arms I’d stay
Forever if I could
Forever if I may
Keep me in your thoughts, don’t disappear” —So Alive
“And everything I thought that I could ever say to you
Got all fucked up and well, just misunderstood.” —Ryan Adams, Friendly Fire
Got all fucked up and well, just misunderstood.” —Ryan Adams, Friendly Fire
Listening to Ryan Adams makes my life better.
(via simplybehappy)
Better off as the fool than the owner of that kinda heart.
(via technicolora)
Listen
Ryan Adams | Desire
Two hearts fading, like a flower
And all this waiting for the power
For some answer to this fire
Sinking slowly, water’s higher
Desire, desire…
chin up, cheer up.
“Now sometimes just being alive is enough.”
—Neal Casal, Too Much To Ask
the sadness.
“Nightbirds sing you
And empty tune
In an empty house
In an empty room
With an empty feeling
When it comes too soon” —ryan adams (via favquotes)
And empty tune
In an empty house
In an empty room
With an empty feeling
When it comes too soon” —ryan adams (via favquotes)
Neal's photos
Neal has posted a bunch of photos of Chris on his Tumblr. I won’t reblog them, but do go and look.
From losthighwayrecords.com
(Photo Jon Graboff)
It is with great sadness to report that Cardinals bassist/vocalist/collaborator Chris Feinstein (Spacewolf) has recently passed away. He was an integral member of Ryan Adams & The Cardinals and will be deeply missed by all of us here at Lost Highway and throughout the entire music community.
Please send your thoughts and prayers to Chris’s family, friends and bandmates during this difficult time.
“This is the saddest day of my life. I lost my best friend today…things will never be quite the same.”
-Brad Pemberton (*Update* it’s been pointed out that this is from here, and isn’t Brad but Brad quoting someone else? *Update again* This quote is most definitely Brad’s status on Facebook so who said it first I do not know, but clearly they’re both echoing the sentiment)
Source: http://www.losthighwayrecords.com/artist/detail.aspx?nid=2671&aid=58
“SAD NEWS. Chris Feinstein, bassist for Ryan Adams & The Cardinals, passed away this morning at the age of 42.”
—http://twitter.com/MGChislett/status/6751277981
From NME.com
(Sorry, just posting things as I find them. Again, do email anything you find of interest)
The Cardinals’ Chris ‘Spacewolf’ Feinstein dies at 42Chris “Spacewolf” Feinstein, the bassist in Ryan Adams’ former band The Cardinals has died.
Passing away on Monday (December 14) at the age of 42, as of yet, the cause of death is unknown.
Feinstein was a member of Ryan Adams & the Cardinals during their final albums, appearing on ‘Easy Tiger’, ‘Follow The Lights’ and ‘Cardinology’.
Since The Cardinals split from Adams, Feinstein had also performed with Albert Hammond, Jr., as well as writing songs for Santigold’s debut album.
Source: http://www.nme.com/news/ryan-adams/48918
From spinnermusic.co.uk
Ryan Adams’ former band the Cardinals has lost its bassist, Chris Feinstein. The 42-year-old reportedly died at his home in Manhattan. The cause of death is still unknown.
Feinstein joined the Cardinals in 2006 as a touring member and played bass on their 2007 releases ‘Easy Tiger’ and the ‘Follow the Lights’ EP, as well as 2008’s ‘Cardinology.’ He was also a major contributor to the 2002 ‘I Am Sam’ soundtrack, serving as a producer and playing bass, guitar and percussion. Feinstein played bass with a variety of different musicians, including Fat Joe on his 2002 album ‘Loyalty,’ Albert Hammond Jr.’s 2006 album ‘Yours to Keep’ and on Minnie Driver’s 2008 album ‘Seastories.’
Clearly, he was versatile but also didn’t limit his interests to just the pop and rock worlds. As a mixer, he worked in more electronica settings with Moby and on a variety of different trance and techno compilations.
On the Lost Highway Records website, Cardinals drummer Brad Pemberton said, “This is the saddest day of my life. I lost my best friend today … things will never be quite the same.”
Funeral arrangements have yet to be announced.
Source: http://www.spinnermusic.co.uk/2009/12/16/chris-feinstein-death/
RIP Spacewolf
I’ve woken up this morning to the sad news that Chris Feinstein has died at his home in Manhattan, on Monday 14th December, aged 42.
I have a long and well-documented love of bass players, and Chris was no different. My thoughts go out to his family and friends, and of course to the other Cardinals.
More updates as I get them. If you find anything of note, do email it to me: clumsykisses@gmail.com. Cheers
thestranger.com: Take It Easy, Tiger - Lovable Schizo Ryan Adams (25th July 2007) →
thestranger.com
It’s been eight years since Ryan Adams parted ways with the remains of his North Carolina country/rock band Whiskeytown, whose revolving-door membership was largely a function of young Adams’s out-of-control ego and, ahem, uneven temperament, making it difficult to fit anyone else onto the band’s stages, tour buses, or albums. In that time, Adams has adopted any number of personae in his quest for rock ‘n’ roll world domination. These are, chronologically:
The Next Dylan, a historic kiss of artistic death (you could ask previous candidates like Springsteen, Prine, Hiatt, and most recently, Oberst) but nevertheless the crown he was handed after the release of his 2000 solo debut, Heartbreaker, by far the best thing he’s created artistically and still the primary reason why anyone cares about what he does.
The Next Westerberg (see previous), the scruffy enfant terrible whose talent for gold-plated slop-rock excused any number of egregious asshole episodes, including an ugly confrontation with a fan who taunted him by requesting Bryan Adams’s “Summer of ‘69” during a gig in Nashville. Assigned following his 2001 album Gold (which included the minor hit “New York, New York”) and all the rumored “unreleased gems” that the insanely prolific Adams was unable to push upon the public during this period.
Jerry Garcia Apologist/Urban Deadhead, earned after Adams released three albums in 2005, two of which (Cold Roses and its lesser, none-more-black cousin 29, a self-obsessed reflection on Adams’s age at the time it was recorded) so closely mimicked the Dead’s Workingman’s Dead/American Beauty phase that he began smoking working with Phil Lesh during downtime to cobble together a presentable version of the Dead’s classic “Wharf Rat.”
Faux-punk, an excuse to flaunt his cred-enhancing Black Flag tattoos and crank the amps to 11, evidenced by the release of two pseudonymous EPs from the Finger, a project recorded with fellow NYC malcontent Jesse Malin featuring the mischievous rawk-dude duo Warren Peace and Irving Plaza (geddit?). The pint-sized romantic gadabout also dated Parker Posey, Leona Naess, Beth Orton, and about half the daily roster of TMZ.com during this period.
DJ Reggie, the mysterious (and totally addled, to judge from the recent New York Times story in which the newly sober Adams copped to years of “destructive drug abuse” that included daily speedball dosage) figure responsible for posting an ADD-afflicted array of hiphop material on Adams’s website over the past several months, some of which is actually promising and the vast majority of which has been so horrible as to constitute a gigantic middle finger flown directly at Puffy, et al. (i.e., “If I can do this legitimately, ya’ll need to find another line of work”). Sported a Unabomber-like beard/disguise during this phase while somehow managing to produce Willie Nelson’s latest release.
[‘I Taught Myself How To Grow Old’] is a tricky tune, because it can mean a lot of different things, I think. I’ve heard it back since, and it was shocking to me that it was as blunt as it was. I think the emotional activity in that song is more talking about not just myself but the way that a person can, when they’re younger, aspire to being older, aspire to feel in some ways more like their heroes. In my late teens and through my twenties, the people that I admired and the people that I looked up to in my life were older.
My grandfather, for instance, or some of my musical heroes or literary heroes or people to me who were heroic who were artists. They were people who were older and lived a more sophisticated kind of life. And some of the pain associated with that, some of their problems, which were adult problems, I think that somehow it seemed like a romantic notion to take those on as a young man. Just by writing that song, it was some way of admitting or figuring out that it wasn’t necessarily the right decision, you know?
It’s kinda like be careful what you wish for. If you decide that you wanna live like Tom Waits or something, so you wanna move to the dark side of the street or live in the back of a barroom to feel their feelings, then you’re in your early twenties by the time that you would have had the experiences of spring or summer of your life. You might end up in a bit of a darker place than you expected.
Ryan Adams, Clash (May/June 2007)
