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Pneumonia Label: Lost Highway US Release Date: 2001-05-22 That's how a friend described Pneumonia to me. He said it as both a songwriter and as a listener, and my heart fairly leapt at the news because Whiskeytown has always walked the fine line between Rock's Salvation and Talented Flame-outs. In Ryan Adams, you have a songwriter of unrivaled gifts, who can spew post-punk rage as easily as he can folkily lament the little deaths and pleasures of idling your life away. He enchants some, enrages others, and whether you think he's a true poet of the heart or a stylistic dilettante, he seems to provide fuel for you either way.
I'll put my cards on the table right now and confess to being, as Erik Flanagan wrote in the latest No Depression, one of 'the fans who wanted the band to be the next thing that mattered.' But I'm no apologist, either. As much as I liked Faithless Street, I thought it was the addition of nine bonus tracks on the reissue that made it a great album. In fact, I'm still kind of bewildered that anyone could leave almost lost classics like 'Desperate Ain't Lonely', 'Empty Baseball Park', or 'Here's to the Rest of the World' on the cutting room floor.
As for Strangers Almanac, I thought that a fine batch of songs ('Sixteen Days', 'Excuse Me While I Break My Own Heart Tonight') drowned like a sack of kittens in thick production. And I'm still coming to terms with Heartbreaker, Adams' stylistic departure and solo debut. For its part, Pneumonia was starting to become one of those mythical unreleased records like Springsteen's electric version of Nebraska or Prince's Black Album. The victim of label mergers and indifference, and maybe even Adams' tendency to closet something once he's perfected it, it finally sees the light of day three years after being completed, and almost as long since Adams disbanded Whiskeytown. It's trimmed down from its original double-CD length to 14 cuts (plus one bonus secret track). Download century iib autopilot manual free. Of course, Adams was able to return to Pneumonia, remix, re-sequence, and condense it with the knowledge that Whiskeytown as an entity might never get together again.
That may account for a lot of the record's meditations on leaving home, returning home, and the regrets in between. It is reminiscent of another great, inconsistent band's swansong, The Replacements' All Shook Down.
Like The 'Mats, Whiskeytown was arguably a one-man show in Adams, with only vocalist/violinist Caitlin Cary appearing on all four albums, and both albums provide gentle closure to careers that had more than their fair share of chaos, spit, and vinegar. Paul Westerberg and Ryan Adams both exemplify our ideal of the young songwriter with an impossibly old soul, who already has the message in song, but is just waiting for us to catch up by accumulating the necessary heartbreak. Westerberg, however, used All Shook Down as his first solo venture, an act that pretty much caused the band's demise and causes some blurring when you try to define where and when his solo career began. Adams disbanded Whiskeytown, recorded Heartbreaker, and then went back to pick up the scattered pieces of Whiskeytown, so Pneumonia holds a much clearer spot in his career. As for the record itself, it's surprisingly gentle, like the last breaths of a relationship ending on friendly terms. The arrangements are delicate and mostly acoustic, with Cary's voice swaying in the background, and the production is clean and crisp.