5/5
1989
Artist: Ryan Adams
Though most reviews for Ryan Adams latest masterpiece of melancholia have been astoundingly positive, you may have heard through the rumble a grumble or two. One astoundingly out-of-touch review by Jonathan Bernstein (of Rolling Stone :/ ) calls the T. Swift covers album both a genre experiment and publicity stunt. Other naysayers have shouted “gimmick!” After listening to 1989 for yourself, it becomes apparent pretty quick that these reviews were written based on the ten-second Instagram videos Adams has been posting the past month. Both a small wonder and a titan masterwork, 1989-via-Ryan is one of the best albums of 2015, highlighting two important things: Swift is the songwriter of her generation and Ryan Adams can make anything sound heartbreakingly beautiful, even "Shake It Off."
To be a gimmick, the record would have had to sound like Adams had a tiny smirk while recording, a self-referential touch of irony. One of the album's most profound aspects is that it sounds like he is doing neither of these things. In typical Adams fashion, he attacks each of the songs as if they were as precious and personal as any of the gems in his own songbook. The fact that Adams takes Swift’s material so seriously, even the peppiest candy like "Welcome To New York" and "How You Get The Girl," will take you for a spin, even if you don’t care for Adams and/or Swift. There is certainly something to be respected there.
Much like the original album, Adams' 1989 begins with one of the weaker tracks - Adams follows her preset track listing. I am not saying its bad when either of the artists do it, but Adam’s Springsteen swagger in "New York" is far removed from his heart-wrenching fingerpicked cover of “Blank Space,” by far the album’s best track. When Swift sings “I got a blank space, baby, and I’ll write your name,” its sung by a young woman without a care and with many more heartbreaks ahead of her. When Adams sings the same line in a breathless musing, he sounds like he’s one rejection away from throwing in the towel - much like last year’s almost equally wonderful Ryan Adams, his recent divorce adds a blue tint over every track.
Going back to Springsteen, there are even more Born in the USA delights to be found on 1989. For the first twenty seconds, I was not quite sure if I was listening to “Shake It Off” or “I’m On Fire.” Springsteen is not the only 1980’s hero honored in the set. Adams personally gave a shout out to The Smith’s, with “I Know Places” sounding like the most straightforward wink to Morrissey. Also included are hints of the Heartbreakers (“Wildest Dreams”) and U2 (“Style,” “Out of the Woods”) It goes without saying that fan of 1980’s rock will absolutely dig the new Ryan Adams album.
But truthfully, fans of any genre from any decade should find joy, sorrow, pleasure, and everything in between. More than anything else it accomplishes, from its sheer musical thrill to the showcase of its artist’s brilliance, 1989 successfully draws a line between two genres with a loving, tender hand. Classic rock junkies who constantly complain about how shallow today’s pop is, take a listen and Prof. Adams will pin point just how emotionally rich Swift’s pen is. No one should be saying, "I like Taylor’s better,” or “Ryan’s is obviously the best,” because they are two separate albums. Adam’s has not made a cheesy covers album. He’s made a substantial piece of music history that should be looked at as just as important and substantial as Swift’s #1 blockbuster. They are separate entities, both amazing in their own ways.
1989
Artist: Ryan Adams
Though most reviews for Ryan Adams latest masterpiece of melancholia have been astoundingly positive, you may have heard through the rumble a grumble or two. One astoundingly out-of-touch review by Jonathan Bernstein (of Rolling Stone :/ ) calls the T. Swift covers album both a genre experiment and publicity stunt. Other naysayers have shouted “gimmick!” After listening to 1989 for yourself, it becomes apparent pretty quick that these reviews were written based on the ten-second Instagram videos Adams has been posting the past month. Both a small wonder and a titan masterwork, 1989-via-Ryan is one of the best albums of 2015, highlighting two important things: Swift is the songwriter of her generation and Ryan Adams can make anything sound heartbreakingly beautiful, even "Shake It Off."
To be a gimmick, the record would have had to sound like Adams had a tiny smirk while recording, a self-referential touch of irony. One of the album's most profound aspects is that it sounds like he is doing neither of these things. In typical Adams fashion, he attacks each of the songs as if they were as precious and personal as any of the gems in his own songbook. The fact that Adams takes Swift’s material so seriously, even the peppiest candy like "Welcome To New York" and "How You Get The Girl," will take you for a spin, even if you don’t care for Adams and/or Swift. There is certainly something to be respected there.
Much like the original album, Adams' 1989 begins with one of the weaker tracks - Adams follows her preset track listing. I am not saying its bad when either of the artists do it, but Adam’s Springsteen swagger in "New York" is far removed from his heart-wrenching fingerpicked cover of “Blank Space,” by far the album’s best track. When Swift sings “I got a blank space, baby, and I’ll write your name,” its sung by a young woman without a care and with many more heartbreaks ahead of her. When Adams sings the same line in a breathless musing, he sounds like he’s one rejection away from throwing in the towel - much like last year’s almost equally wonderful Ryan Adams, his recent divorce adds a blue tint over every track.
Going back to Springsteen, there are even more Born in the USA delights to be found on 1989. For the first twenty seconds, I was not quite sure if I was listening to “Shake It Off” or “I’m On Fire.” Springsteen is not the only 1980’s hero honored in the set. Adams personally gave a shout out to The Smith’s, with “I Know Places” sounding like the most straightforward wink to Morrissey. Also included are hints of the Heartbreakers (“Wildest Dreams”) and U2 (“Style,” “Out of the Woods”) It goes without saying that fan of 1980’s rock will absolutely dig the new Ryan Adams album.
But truthfully, fans of any genre from any decade should find joy, sorrow, pleasure, and everything in between. More than anything else it accomplishes, from its sheer musical thrill to the showcase of its artist’s brilliance, 1989 successfully draws a line between two genres with a loving, tender hand. Classic rock junkies who constantly complain about how shallow today’s pop is, take a listen and Prof. Adams will pin point just how emotionally rich Swift’s pen is. No one should be saying, "I like Taylor’s better,” or “Ryan’s is obviously the best,” because they are two separate albums. Adam’s has not made a cheesy covers album. He’s made a substantial piece of music history that should be looked at as just as important and substantial as Swift’s #1 blockbuster. They are separate entities, both amazing in their own ways.