Customer Reviews

Pneumonia

5 star:		(18)
4 star:		(29)
3 star:		(5)
2 star:		(4)
1 star:		(4)

 

 

Fans of the Raleigh-based alterna-country band Whiskeytown can now breathe a collective sigh of relief. Not only has the dismantled band's music from its last trip to the recording studio finally seen the light of day, but the resulting album, Pneumonia, is well worth the delay.

Pneumonia, recorded three years ago in a variety of settings, was held up because of legal wrangling between the band's old label and those of the individual members when they entered into new recording agreements. Whiskeytown ringleader Ryan Adams had said in a number of interviews that the album would never be released if he had anything to do with it. Fortunately, time heals all wounds and Adams' bitterness about the band's breakup has softened due to the passage of time and his recent success as a solo artist. In the end it was Adams' new label, Lost Highway Records (Lucinda Williams' pet project), which won the right to release Pneumonia.

While Pneumonia may not achieve the classic status of the band's high-water-mark album Strangers Almanac (1996), it comes dern close. The sound of the album is less in the neo-country vein than previous efforts and much more cohesive than the band's live shows of the same era. The songs bounce from the horn-laden "The Ballad of Carol Lynn" to the orchestral soother "Under Your Breath," a song that would be equally at home on Adams' solo album, Heartbreaker. The songs are all great but any Whiskeytown fan expecting the bang and twang of Faithless Street might be a little disappointed. "Mirror, Mirror" is an exercise in pop tune-age that is as catchy as anything Adams has ever written. Backing vocals and horns swirl around the melody while electric guitars deliver power chords your grandmother could love.

Produced by Ethan Johns, Pneumonia ties all of the disparate songs of Whiskeytown's swan song into a cohesive unit. The "Bali Ha'i"-like crooner "Paper Moon" (not the classic song of the same name) would have stuck out like a sore thumb on any other Whiskeytown disc but feels right at home on Pneumonia.

Reportedly, bootleg versions of Pneumonia have been in circulation on the Internet for over a year. In addition to the Whiskeytown fanatics who have burned their own CD copies, the album has attracted the attention of Smashing Pumpkins completists because of James Iha's guitar and vocal contributions to Pneumonia. Bootleggers evidently have sacrificed sound quality in exchange for an edition of Pneumonia containing the songs "Tilt-A-Whirl" and "Choked Up" which were not featured on the final version of the album.

In addition to Adams and Iha, the album features Whiskeytown regulars Caitlin Cary on fiddle and vocals and Mike Daly on guitars, pedal steel, lap steel, dulcimer, mandocello, mandolin, keyboards and vocals. Other musicians contributing include guitarist Brad Rice, bassist Jennifer Condos, keyboardist Richard Causon, guitarist Tommy Stinson, and producer Johns on a number of instruments.

When it is all said and done, Pneumonia is more of an Adams' solo album than a Whiskeytown album in the true sense of the word. Caitlin Cary fans will probably be more satisfied with her upcoming solo album on Yep Roc Records since her contribution to Pneumonia is so sparse. Five songs from her new solo album were released on the EP Waltzie last autumn. Her album is produced by Strangers Almanac helmsman Chris Stamey and features Whiskeytown multi-instrumentalist Daly.

Lost Highway Records will release Adams' new solo album this summer. The album's sound is supposedly closer to Adams' recent live forays with his electric band The Pink Hearts than it is to the acoustic country of Heartbreaker. Lost Highway has also secured the services of fellow Raleigh musician Tift Merritt for her full length debut. She recently turned heads at both the Merle Watson Festival in Wilkesboro and the SXSW Festival in Austin, Texas, with powerful performances of original songs.

In conclusion, Pneumonia is a wonderful collection of musical vignettes. Ragged in places, symphonic in others. The sunny scrapbook quality of the album fails to hint at the inner turmoil of a band in the process of breaking up. But that's probably for the best.

It's a real shame that this record has been sitting on the shelf for three years, because it's really terrific. I have the 2nd Whiskeytown album(Stranger's Almanac), which is good, but this record is leaps and bounds beyond it. It's stunning really, how effortless and assured the songs and performances are on the record, not to mention how much Ryan Adams' songwriting has matured. Pop, rock, folk and country all blend into a seamless whole and give the record a wonderful, loose, "lived-in" sound that reminds me of a little of classic Neil Young(After the Gold Rush,etc.). I would say that "Crazy About You" is my favorite track - a simple, lovesick pop song with a big hook. Not far behind is the closer, "Bar Lights", which has a nice swagger to it, plus I love it when Adams' sings the line "...the empty pool hall, you and I...". The album also features a handful of beautiful, nostalgic ballads that would make Springsteen proud. A wonderful album; right now, it's neck and neck between this and the Sparklehorse for record of the year, I think. Highly recommended, even if Adams was reportedly crazy enough to dump Winona Ryder.

The last Whiskeytown album was released in May, 2001, more than two years after the album was actually completed (and just months before Ryan Adams was to release his SECOND solo album, "Gold"). It sat on the shelf for that long after Whiskeytown's label Outpost imploded and before it found a new home at Lost Highway.

"Pneumonia" (14 tracks, plus "hidden" track, 57 min.), really sounds quite different from Whiskeytown's previous releases, and in spirit is closer to Ryan's first solo album "Heartbreaker" than, say, Whiskeytown's previous album "Stranger's Almanac". Excellent producer Ethan Johns (who also produced "Hearthbreaker" and "Gold") likely is one of the main reasons for that. Ryan has a hand in all tracks, writing 6 tracks by himself, and co-writing the rest with either Caitlin Cary and/or Mike Daly. Standout tracks include "The Ballad of Carol Lyn", "Jacksonville Skyline", the almost Beatles-esque "Mirror Mirror", the eerie "What The Devil Wanted", and "Easy Hearts", the very best on this album, with Caitlin's violins (for once) prominent and Ryan lamenting "I've Had a Pretty Hard Life/But Such an Easy Heart".

Whiskeytown split in 1999. The following year Ryan issued "Heartbreaker", and the rest, as they say, is history. Caitlin has come on strong as well, with decent solo albums in 2002 and 2003. "Pneumonia" is a very nice album to finish that chapter, but I so wonder if we'll ever see a live album released from Whiskeytown's illustrous live sets...

Whiskeytown's posthumous release is well produced, melodic, and beautiful. I arrived at Whiskeytown (and the other "alt country" bands) in reverse: I listened to Ryan Adams first and then got into everything else. This album is filled with solid, catchy tunes (more "pop" and production than W'town's earlier albums) and retains enough twang to appeal to audiences on both sides of the fence. Each tune seems more Ryan Adams-ish (akin to the best of his tunes on Gold, Heartbreaker, and Demolition) than W'town's other material.

The difference here is that (thank goodness) Adams had to share control with the rest of his band, so there are a few less stinkers than the typical Adams solo album.

The best tunes here feel comfortably lamentable ("Jacksonville Skyline," "Don't be Sad") like a good country (even pop country) song ought to feel. "Bar Lights" is in my opinion the gem of the album and makes me want to head out drinking and carousing. All in all, the album is a gem...one that Adams might want to look back to to temper his overly prolific solo efforts.

It's 'Summerteeth' all over again! I had read that the third fabled Whiskeytown album was rid of it's country shackles, but I didn't realise they'd gone and done a pop record! And it's no less than completely brilliant. Just like Wilco's third, this is determinedly plusher in production, but no less strong in songwriting than previous outputs. This record is already breaking my heart with every listen, twisting the knife into my soul joyously. It's definitely a Ryan Adams production, though this is no bad thing. Every song is simplicity, spice, all things sad and nice. It's moving, it's heartbreaking, it's all just completely typical of where Ryan was headed as Whiskeytown came juddering to an abrupt halt. His 'Gold' album is going to be the real showpiece for his genius (I don't use the term lightly, I promise you), but for now, 'Pneumonia' is a fine indicator of a lighter hearted inclination and a burgeoning knack for writing the prettiest songs you've ever heard. Listening to this record, I can't help but punch the sky when he's singing 'breathe in, breathe out' on 'Don't Wanna Know Why', and claim the world as mine as he's stating his lustful intentions on 'Crazy About You'. 'Pneumonia' invigorates like 'Stranger's Almanac' and 'Faithless Street' didn't, good as they were. Don't write it off because it's a change in direction, and less the familiar friend. This is a fine, fine record.

I guess I'm one of many who knew of Ryan Adams before I knew of Whiskeytown. However, after listening to bands like The Jayhawks, Uncle Tupelo, and of course Ryan Adams, I decided to pick up their final album. In short this is just as I expected, and the mood and quality of songwriting did please. It would be easy to say that any fan of his, or theirs, or the genre would dig this disc. There may be a few so-so tracks near the middle, but it starts off excellent, ends the same way, and overall is a great listen. It's really been the only time that I was ever very happy to have gotten "Pneumonia".

They don't exist anymore, but Ryan Adams still does, and that's something. But it's not the same.

It is a sad thing that there is no more Whiskeytown. This is a fine cd. Could a solo Ryan Adams pull off an "Easy Hearts" or "The Ballad of Carol Lynn"? I doubt it. Adams is a gifted songwriter, and the various studio incarnations of Whiskeytown supported his strengths and made some wonderful music. As far as I could tell, the music of Whiskeytown never appeared the work of one man and a supporting cast however, but as a unified group working together to put out wrenchingly sad and celebratory music. Adams without Caitlin Cary seems perversely wrong.
Whiskeytown infects you. This is easily their most polished and produced effort. Lyrically strong, as are all Whiskeytown cds. Woeful bummer Adams doesn't bring you down so much because the music either juxtaposes his depressing words or helps to flesh out the mood and almost rejoice in the sorrow. Supposedly this is the cd to buy if you are new to Whiskeytown, although I would recommend Stranger's Almanac instead, and even Faithless Street. The earlier Whiskeytown was a little more magical. Maybe that's why they are no more. But this is the "alt-country" you are looking for. Or at least its a good place to start.

Being a huge Whiskeytown/Ryan Adams fan, I eagerly awaited the release of this album. I initially listened to it on a very long car ride. My first reaction was kinda of mixed. I liked only a few of the more traditional Whiskeytown songs like "Jacksonville Skyline." On a second and third and fourth listen, I really began to love it. It isn't like Strangers Almanac, but do they all have to be the same to be good? I don't think so.

Why did Whiskeytown have to break up? Why? WHY? This album is great. "Mirror Mirror" sounds like a straight up Beatles tune, "Jacksonville Skyline" is one of Adams' best, but just like "Houses on the Hill", it's a brilliant song that ends too quickly. "Don't Wanna Know Why" and "Choked Up" are catchy tunes that will have you singing along in your car....Despite all this, there are some chinks in the armor. "What the Devil Wanted", "Paper Moon" sound uninspired, and "Easy Hearts" comes across as being too whiny for my tastes. The rest of the tunes on this disc range from very good to great. If your new to the whole No Depression genre, or are looking to buy your first Whiskeytown disc, you can't go wrong with this one.

I admit it... I HATED this album the first few times I played it. I thought it had no FIRE and no PASSION. It was not my beloved "Stranger's Almanac." But having put it away and come back to it, especially after Ryan's solo records, this begins to shine on its own.

First, I think this is a very important record, songwriting wise, in Ryan Adams' chain. This is a far more acoustic and subdued record than "Stranger's" or even "Faithless Avenue." I think it works better that way, as this allows the nuances that make great pop songs to shine through; Things like the great backing vocals (especially on 'Don't Wanna Know Why' and 'Don't Be Sad') and off the wall instruments like accordion on 'Sit and Listen to the Rain' and the carribean/hawaiian arrangement of 'Paper Moon' and the LP pops that add to the feel of 'What the Devil Wanted.' I think it is harder to convey an ideas with simple instruments [that is, instead of hiding behind your Marshall stack and screaming like SOME bands] and on this level Adams succeeds wonderfully. The broken string and laughter on "Bar Lights" prove that Adams was going for feel and perfomance more than technical brilliance. Credit Ethan Johns (also produced Adams solo records) for capturing what Adams wanted.

The songs themselves have an even more world weary feel than those of the other Whiskeytown albums, [how much of this is due to the band disolving around him I will not dare guess] especially 'My Hometown' and 'Easy Hearts.' But there are some great fun moments like the upbeat 'Crazy About You' and 'Bar Lights.'

I said in a review of Adams' "Gold" that he may be this generation's Bruce Springsteen. If that is the case, then I would call this album his "River" or "Nebraska." I don't think it will ever replace "Stranger's" as my favorite, but I can enjoy it for what it is.