Analyzing How Ryan Adams plays "Lucky Now"

[KarlK]

Over the past week, I have been mesmerized by the various acoustic live versions of Ryan Adams playing Lucky Now on his Buck Owens Harmony guitar. This version here

https://www.youtube.com/watch?v=mGv26cmRdc4

probably provides the best guidance for a player who wants to duplicate these effects. He uses the strumming and fingering approach in this video consistently across other renditions available on youtube.

First off, if you go to, say, Ultimate Guitar Tab or other tabs sites to find the chords, you will see just C, F, G, and Amin. Here are the first two lines as seen in one of the tabs (I’ve added spaces to highlight the changes)

C-------------------------------F------------------C
i don't remember were we.....wild and............young
C----------------------G-----------C
all that's faded into memor........y

Of course you could play along with those chords—and the Amin during the chorus -- at the appropriate changes, and it would be “all right.” But that approach, for lack of a better word, is simplistic.

Ryan has said in some interviews that he is writing simple songs, but I’d say what he is doing musically is providing SUBTLE transitions around simple chord shapes. Moreover, the approach he takes is, from a finger movement standpoint, highly economical. In other words, minimal movement for maximum tonal effect.

OK, how does he do it? I haven’t figured it all out – it’s frustrating when the camera pulls away from the fret board, but I think I have much of it. Capo is on the 4th fret – it appears to be standard tuning. Frets and chord shapes described below are relative to the capo.

For the opening riff, watch from 0:05 to around 0:15 to see the left hand finger pattern. The progression, played twice, has two parts.

Part 1

1. C shape
2. hammer and pull off on D string in second fret
3. shift to the 4 finger FMaj7 shape just moving the pinky to the G string 2nd fret (the pinky is essential for the effect; hereafter called Fmaj7AddC)
4. hammer and pull off on G string second fret while in the Fmaj7AddC shape, then
5. back to C, and then hammer on D in the second fret to complete the first part of the sequence.

For Part 2 of the sequence,

1. C shape with hammer and pull off on D in the second fret, and
2. then change to a two finger shape that has the index finger on the B string 1st fret and the middle finger on the A string 2nd fret, strum twice, then
3. Back to regular C shape

Two observations on this second part of the sequence.

First, the two finger shape in item 2 of the second part is done instead of what one would normally expect – a full G shape chord. Ryan’s substitution is simple, yet subtle. Second, note throughout how he doesn’t appear to pluck the strings, but lets the strumming carry the tonal effects of the hammers, pulls, and shape changes. Of course, the rhythm is perfect – it’s precision playing.

For the verse vocal parts – where you can’t see the fretboard, -- the fingering sounds somewhat less intricate – he may be using a hammer/pull off on the C and Fmaj7 shapes, but it’s hard to tell. It sounds like

C, Fmaj7AddC, C, G, C.

Into the chorus, -- “The lights will draw you in” – it gets a bit tricky to figure out. The progression sounds like it begins with an Fmaj7with the C added—watch from 0:37 to 0:44.

------------Fmaj7AddC--------------Amin
For the.......... lights will draw you.......in

--------------Fmaj7AddC--------------- C ------G
And the...........dark will bring you........down

But the change at "lights"—what appears to be a Fmaj7 the pinky again on the A string 3rd fret (the C equivalent) -- has this deep bass feel to it that I can’t seem to replicate on my Gibson J45. Maybe that is guitar specific.

Moreover, is he really playing an Amin? It looks like a Amin7 without hitting the B string? And is there a hammer pull off on the Amin or Amin7? He seems to…look at 1:38-1:42.

For the last two lines of the chorus

----------------Fmaj7AddC-------------------------Amin
And the............night will break your...................heart

.......(a run)-------------------G--------(then chord tabbed below) then G
But on--ly if..............you’re lucky now

The run I can’t figure out

I think it is
------------------------------------------------------
------------------------------------------------------
------------------------------------------------------
-0 ----2----3 -----2------0------2------3---------
------------------------------------------------------
---------------------------------------------------3-

And here’s is the shape for the middle chording at the end of last line of the chorus. (Ryan uses this chord a lot…what is it’s name?

-------|-----------|------4-----|-----
---1---|-----------|------------|-----
-------|-----------|------------|-----
-------|-----2-----|------------|-----
-------|-----------|------X-----|-----
-------|-----------|------3-----|-----
-
Finally, we have the bridge—the “hey” part

Fmaj7AddC , G, Amin

But listen to the strum patterns…at 1:58 to 2:02 there is this great subtle hammer and pull off within the FMaj7 G change that you can’t see but comes through powerfully in a chunka-chunk rhythm. And then at 2:06, he repeats the run that was part of the last line at the chorus, but a bit more up tempo, and with a bit more volume.

Anyway, there you go. Best I can do to decipher what’s happening.

Again, I find what he is doing here just mesmerizing as it combines such subtle changes over a simple pattern with maximum tonal effect.

Oh, and one final thought -- the singing. Complete and total vocal control and projection. Alas, can’t tab that out.

[AtlJohn]

I don't know this song, Karl, but i do like what little Ryan Adams i've heard (especially the buttkickin Cardinals raveups), but after reading through your detailed breakdown and seeing your clear admiration for the entire work, i'm going to watch the video/s and see what i can see. I doubt i'm going to be able to provide any worthwhile contribution, but it's worth a shot, and hey, i appreciate the song rec!

Cheers,
-js

[SalFromChatham]

I have covered a few of his songs... mainly because I am a cowboy chord hack and his songs are simple

Seriously, I love simple. I'll check out what you have done and compare it to what I do later when I get a break. To be honest I never tab stuff out... I play something that I hope is most of the way there that fits with what my abilities are. I'll be back.

I too am a fan of his simple acoustic stuff. Invisible Riverside is gold.

Here is my cover of Lucky Now: https://soundcloud.com/sal-from-chatham/lucky-now-1

Another thought... we are essentially guitarists on this board - we focus a lot on the guitar and playing. Ryan is a singer/writer first. When he plays these quiet meditative songs.... he is focused on the feel and singing. I'm not sure if he even knows what specific licks he does show to show, and I bet they change. Could be wrong though.

[KarlK]

Originally Posted by themissal

I have covered a few of his songs... mainly because I am a cowboy chord hack and his songs are simple

Seriously, I love simple. I'll check out what you have done and compare it to what I do later when I get a break. To be honest I never tab stuff out... I play something that I hope is most of the way there that fits with what my abilities are. I'll be back.

I too am a fan of his simple acoustic stuff. Invisible Riverside is gold.

Here is my cover of Lucky Now: https://soundcloud.com/sal-from-chatham/lucky-now-1

Another thought... we are essentially guitarists on this board - we focus a lot on the guitar and playing. Ryan is a singer/writer first. When he plays these quiet meditative songs.... he is focused on the feel and singing. I'm not sure if he even knows what specific licks he does show to show, and I bet they change. Could be wrong though.

Sal, very nice cover. You have a very good voice -- your pitch is perfect. I think in stereo and with a little reverb you would sound absolutely professional.

It sounds as if you are doing mostly chords, with occasional hammer ons for the C and Amin shapes.

A couple of questions.

• What is the high sounding chord you play at 0:06?
  
• On the chorus, when you get to "down," its sounds as though you are not playing a regular G, but some sort of suspended chord. Is that right?
  
• At 1:30, when you get to the "now" in the chorus, you seem to be playing an increasingly higher chord progression. What is that?
  
• Right after that, starting around 1:33, you seem to be moving into the bridge, but seem to be playing C, F, C G, progression rather than Fmaj7, G, Amin bridge progression that Ryan plays -- the "Hey" part. Is that right? I have to say the little runs and trills you do there are really good -- would love to see your finger movement on that one.

Meanwhile, you are right that Ryan is a singer songwriter first, and a guitar player second.

But he is a tremendously skilled player and would be comfortable playing any kind of music. For example, here he is doing the song, Wasted Years, from the metal band Iron Maiden. The finger picking here is astonishing.

https://www.youtube.com/watch?v=1iBe53ruE1g

Also, here are some other live versions of him doing Lucky Now.

https://www.youtube.com/watch?v=3JrhTzGri8c
https://www.youtube.com/watch?v=dyhi3N9_qU4

He's doing virtually the same left hand movements in each version of Lucky Now. I think the difference in performances resides in the tempo and vocal/ recording dynamics, not in the playing technique.

[KarlK]

Ok, I see now how he does the bridge part..the "Hey, ey...ey.."

It is (1) Fmaj7AddC then (2) a quasi G suspend shape chord, then (3) Amin

The (2) quasi G shape chord is below, where the 4HP is the hammer pull off on the A string, 3rd fret using the pinky -- it looks like this...

-------|-----------|-----------|-----
---1---|-----------|-----------|-----
-------|-----------|----------- |-----
-------|-----------|----------- |-----
-------|-----2-----|-----4HP---|-----
-------|-----------|------3----|-----

Go here..

https://www.youtube.com/watch?v=dyhi3N9_qU4

And watch from 2:01 on...at 2:07 to 2:09 you will see the shift from Fmaj7AddC to this quasi G suspend chord with the hammer pull with the pinky of the A string 3rd fret, and then to Amin.

The effect is subtle, but quite powerful. Again, he doesn't pluck that hammer, but lets the strumming and the rhythm carry the tonal change.

FYI, this version has the capo the 3rd fret; the performance I linked to in my first post had the capo on the 4th fret.

You'll note is the first part of this sequence in this performance he pulls off on the B string in the Amin shape, but in the second repetition, he plays the Amin straight.

This particular quasi G-shape suspend chord appears elsewhere in the song.

[waveform]

Nice version Sal, you nailed the guitar and vocals. Funny I have been playing this song for a bit. Listening/reading this post I realize I do a pretty sloppy version. I really like his music, great singer/songwriter. I think what some one said about his finger style is true. Seems like he gets this groove going, hammer ons, individual notes, all on the fly?

[VJP5]

I realize this is an old thread, but I just kind of stumbled on Ryan Adams and am starting to learn this song. I have no where near the imagination it takes to figure out all the hammer ons and pull offs, so THANK YOU Karl, for starting me in the right direction.

[skitoolong]

I learned a passable version of this song from Youtube. Not sure how correct it is, but it sounds good enough.. Cant recall the author but there's one there.

[KarlK]

VJP5, thanks for your nice comments.

I recall there being a pretty good tutorial published on youtube after I started this thread, but I can't seem to find it.

However, in my search, I did find this video of a 10 year old doing the song.

He's got many of the changes down, including a nice version of the Gsus at the end of chorus.

Keep it up kid!!

[VJP5]

Originally Posted by KarlK

VJP5, thanks for your nice comments.

However, in my search, I did find this video of a 10 year old doing the song.

You are welcome. However, now that you posted that video, I would like to recant my gratitude.......Talk about pressure

BTW - just kidding. I have the utmost respect for any one, any age who can create music like that. Just wish I could get there sooner rather than later

[Judson]

I worked out a little finger style arrangement for "Lucky Now" a while back that I've been told works pretty well. What do you think?

[KarlK]

Originally Posted by Judson

I worked out a little finger style arrangement for "Lucky Now" a while back that I've been told works pretty well. What do you think?[/YOUTUBE]

Judson, that is tremendous.

That tempo, and the timbre and modulation of your voice, is perfect for the song. And the simple unembellished chord changes work great over the very precise right hand fingering. It shows you don't necessarily need the hammer on and pull off embellishments RA uses all the time, if you have the single notes ring out.

I have watched all the RA solo acoustic versions, and the one below is the most unembellished. One common thread through all his performances, is that he wants the song, for a lack of a better word, to "rock." Thus the chunka chunka rhythm effect.

Part of that approach I think stems from his whole approach to acoustic guitar playing -- which has a very disciplined rhythmic overlay; RA is always on the beat. But I think this solo approach to "Lucky Now" also derives from the studio work, where there is a lead guitar line over the bridge--it's almost as if that lead guitar bridge solo has shaped the song in that rhythmic fashion.

But as you show, conclusively, if you dial it down, it still works.