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Background

Let a Man Be Lost is the third studio album by American singer-songwriter/musician, set to be released on November 22nd on Studio 60 Records worldwide. Recording sessions for the album took place at various recording locations including Capitol Studios in Hollywood, California and Avex Recording Studio in Honolulu, Hawaii. Recording sessions took place between March 2009 and September 2010. It is the first album produced completely by Hernandez alone. Conceived in the wake of multiple events that affected and distressed him during the previous year in a half, Let a Man Be Lost marks a musical departure for Ryan Ross Hernandez from his previous work, vocally, guitar playing and production-wise. Incorporating musical elements of soul and hip-hop on select songs. While the album contains lyrical themes concerning love, romance, loneliness, heartbreak and heartache. It also contains lyrical themes of personal demons, social and political beliefs, and backlash of fame.

Ryan Ross Hernandez will finally release the follow up to his triple-platinum Dark Secret Love with a concept album titled Let a Man Be Lost on November 22nd. Second single (first single for everyone outside of the United States and Canada), "The Halfhearted Lover" arrived on October 22nd for airplay and October 26th on all major digital outlets worldwide. "Each song is inspired by someone or some event," Hernandez told fans in a press release. "In the past year in a half, two years, I've experienced a lot of things that I've been dying to write about. My last two years have been pretty eventful. Everything was intense, there was no in between. It was intense joy or intense pain or intense curveballs, and I had tons of events, and people to write about. A lot of things I wanted to say in the moment that I didn't. A lot of things people wanted to tell me in the moment but didn't. After people hear this album, I think people will be scared to even be around me anymore because I don't bullshit around subjects and generalize them. I make them real. If I write about real life I have to base it off my own personal experiences because the public has so much information out there about my life that they can tell what's real and what isn't, lyrically, on the album."

According to Hernandez, Let a Man Be Lost was written, composed, and produced entirely by himself — "I'm a perfectionist, which means that if I wanted to make the perfect record I needed to control everything and make it sound perfect to me first, before I release it to the rest of the world" he said — and will once again be backed by the same band that contributed and toured on his previous two albums but with additional members for the new instruments included in the record. Preorders for Let a Man Be Lost began on October 22nd.

Hernandez has spent the past two years writing tracks for his follow-up to Dark Secret Love, which has sold nearly six million copies, was nominated for Best Album at the Birdies, and had a Best Single recipient come off it, thanks to the number one hit single, A Never-Ending Trip to Heartbreak. "Ever since I put out Dark Secret Love, I've been writing for this record and conceptualizing it," Hernandez said. "I like to take a lot of time between records to work on the next one. I did the same thing for Dark Secret Love. I took two years to three years in between, and for me, I write everything that I live. You have to give yourself a lot of time to live a lot."

In a Billboard interview where he spoke about the album, Hernandez called the musical aspect of the record a "no-holds-barred musical extravaganza," and commented that Let a Man Be Lost is an album that is meant to be heard with headphones so the listeners don't miss all the sound mixing surprises he included on most songs. In the same interview Ryan confirmed that the album will introduce new musical elements to his music, confirming a large horn section that includes saxophones, trumpets and trombones, a live string section of violins, violas, and cellos, even some full orchestra recording work from the Los Angeles Philharmonic. In addition "about two or three songs," evoke a presence of programming which was conducted by Hernandez himself and tribal drums. Over the course of the recording process Hernandez hired a vocal coach to help him control his vocals more which he admitted to have trouble accomplishing towards the end of his last tour and beginning the recording for Let a Man Be Lost.

For unknown reasons, his collaboration with Jakey Comatose and Ashley Perry that was recorded in late 2009, entitled "Philosophy on People and Other Living Hurts," was left off the final track listing. It has also been rumored that Hernandez recorded a duet with Raven Comatose sometime before her death, but no information of one has surfaced.

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Film

Since the making of Dark Secret Love, Hernandez has been interested in making a short film based off one of his albums. At one point he confirmed a short film was to be made for Dark Secret Love but it never occurred. In early November 2010, Hernandez confirmed that a compilation of short films will be made for each song featured on the album. He went on to say that each short film will connect to each other but said that each don't follow a specific storyline, instead each have their own respective storylines. Each short film will range from about six to twelve minutes, and most will feature dialogue. Hernandez mentioned that none have been filmed yet, saying that he is still in the writing process, confirming that he is the writer for all 17 short films, and that he will most likely be starring in each with additional actors starring alongside him and said to "not be surprised," if he scouts some fellow musicians to act in them. He won't be filming any musical performances for it to have more of a film feel to it instead of a long form music video. The compilation of short films will be released sometime in 2011 either as a standalone Blu-ray and DVD or be included in a re-release package of Let a Man Be Lost. Hernandez confirmed that the short films will serve as the music videos released online and on TV for all future single releases off Let a Man Be Lost. Three short films will be released before year's end, as confirmed by Hernandez, but will be released together as one to serve as music videos for each of the singles released this year, Hollywood Hills Assassin, The Halfhearted Lover, and The Devil Wears Designer Dresses. Rumors have surfaced online that indicate alongside Hernandez, Miss Vanity could be starring in the first three short films to be released, although it hasn't been confirmed by either one of them. Pictures were released online on November 19, 2010, that indicate filming has started in New York City. In total the run time for the entire short film compilation will be around the same as the album's hour in a half length. Both Hernandez and Studio 60 are reportedly funding the project, although Hernandez is the only executive producer confirmed for the short films.

Edited by user 21 June 2011 07:06:29(UTC)  | Reason: Not specified

Alicia: I love everything you do, your the most consistent artist in music right now.

OOC: Great, now I have to up my game -.-' Nah, in all seriousness, amazing work dude, well done.

Pretty impressed so far with the album, can't go wrong with Ryan Ross Hernandez. You're always pushing the envelope as an artist.
What stands out from the track to me personally, is how it has so much going on, yet you manage to glue it all together. Primary example is when the rock flavored section transitions to the more cheery side. A good starter for the album in my opinion. Also love the fact the song fades and transitions to the next track of the album. It's like an endless song sort of thing. It builds up like a story. Excellent work! - Linda Fea

OOC: Really good job man! You've been here on TRSG for a pretty long time and all your RP's are top quality.

OOC: Really great job with the second one as well. Keep it going!

Musical Information

The album's only politically-charged song touchstones are Sting, along with latter-day Eric Clapton and the '70s blue-eyed soul of the Doobie Brothers and Boz Scaggs. ''What We're Fighting For'' is an exquisite ballad powered by a murmuring six-note guitar figure. Having a vaguely jazz-spiced sound that's reminiscent of Sting's early solo work, with its elaborately constructed sound. "What We're Fighting For," is a gut-wrenchingly poignant song that give voice to a generation of kids raised on Disney teen stars, MTV reality shows and CNN soundbites who've found themselves all grown up and fighting a war of "beliefs." Grappling with a edgy topic -- social and political views. Proving wrong whoever might have doubted Hernandez's writing ability out of lyrical themes concerning love, romance, heartbreak, and himself. But even with the song's sly echoes Curtis Mayfield and Marvin Gaye evoke a previous era's war and protests. Hernandez's vocals croon a cool social observation, without ever taking them out of his comfort zone — with its delicate opening guitar figure and the chanted harmonies of its bridge — recall Sting. With the drum line, catchy guitar riffs and lyrical panache, "What We're Fighting For" delivers a few items of note to your think-tank.

Song Meaning by, Ryan Ross Hernandez

"What We're Fighting For, is the first political song I've ever written, but not a political song. I see a political song as something like, People Get Ready by Curtis Mayfield, and What We're Fighting For is not that. Not even close to that style. It's not a call to arms, it's more of a overall impartial view of what beliefs mean to people and the troubles it causes in the world. Everyone in the world has a right to believe in whatever they want to believe in. And songs like the one I mentioned before, and others from Marvin Gaye and such are great songs don't get me wrong, but I don't have those powerful vocals to interpret a song like that. This is the only song on the record where the music came about before the lyrics, and had this very, uptempo rhythm that balances the song’s skeptical words. This song is certainly one of those that is very guitar driven. Which I wanted to include at least a couple of songs that had that dynamic to it. People like to talk about my muse, and which people inspire me to write certain songs, but this one is a deep study on private and public matters that dealt with belief(s), about individuality and conformity, about pride and publicity, suggesting how necessary and also dangerous faith is."

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PERSONNEL

Ryan Ross Hernandez – vocals, guitar, producer
Steve Jordan – drums
Pino Paterson – bass
Eli Harper – percussion
David Ryan Harris – guitar

Musical Information

Next we have the first serene ballad heard on the album, from the first clean acoustic strum of chords, you already get the feel that this six and a half minutes long and flagrantly provocative song, it a deeply heart-wrenching affair, its protagonist anguished and violated. With that, it's only fitting that Hernandez starts off his best vocal performance of his career with a helpless sigh into the recorder. The continuous acoustic guitar is heard all through out the song, while a bluesy guitar swells underneath, making for a fuzzy blues-pop arrangement when you add the continuous changing pace drums beneath it, which is not unlike a sprawling, crescendoing powder keg from the likes of the Black Crowes or Counting Crows. As guitars crunch, Hernandez takes his time eviscerating a older lover who took a young woman's heart — and perhaps something else is nothing less than You're So Vain for the 21st century. On the vocal side of things, Ryan opens up his throat so wide that he almost yells at every falling point during the song. This is the first song that proves those vocal lessons paid off, taking the biggest risks vocally to get through the listeners heart. At any rate, Hernandez always returns to his defining vocal gesture -- the line that slides down like a contented sigh or up like a raised eyebrow, giving his beloved hits their air of easy intimacy, it's tempered by a plaintive, sweet melancholy that carries plenty of emotion and meaning. Hernandez intones in a soft, honeyed vocal over soaring, increasingly epic layers of instrumentation - while the lulling, lilting acoustic ballad carries a slow burning kiss off over gentle, crying guitar licks, just with the slightest piano keys playing underneath it all. Ryan's acoustic guitar playing on this song is evidence that even country has somewhat inspired him, showing it by the country twangs he messes around with. It awakes his pain, his ire, and his creativity with this heart-wrenching lament. Over gentle, crying guitar licks, Hernandez sings with the hurt disappointment of someone who feels as though their optimism and naiveté were taken advantage of. But what makes the song even more interesting is that, while Ryan is singing in first person, it's written from a female point of view. Taking the place of a former lover, and basically pointing out his every flaw in their relationship, only furthers the fact that his a lecherous experienced lothario, he could be intending for the listener to feel bad for the girl, but his singing slowly and mournfully, with a pedal steel echoing his melancholy, makes it tough to choose a side. Still it's the most effective lament anthem for wronged women everywhere. Hernandez has the experience and self-confidence to pen a firebreather like this, stretching it to an epic six and a half minutes, while keeping his vocals and musicianship behind him, just as intriguing, never once making it boring. This full-frontal Ryan Ross Hernandez assault is doubtlessly meant to silence those who doubted his writing and singing abilities.

Song Meaning by, Ryan Ross Hernandez

"The Story of a Misunderstood Man, is brutal. That's the best way I can describe it. It's a brutal acoustic, blues-pop ballad. I think when your a musician, or just a person who has a job that they have to travel a lot, when you break up with someone you can't always do it in person, you can't go over to the others place and do it. This song was written from the point of view of an ex-girlfriend who I jilted, and we sort of broke up without words, without saying anything. I feel that a a lot of times, when people's relationships end, they wish they had said everything either good or bad that they felt about the person. But you know, a lot of times those things stay unsaid. This was the toughest one to write, not only on the record, but probably in my career. When it's putting my own feelings on paper, I can do that, because I'm the one living them. But when I decided to sort of twist that, and write from the point of view of someone else, it was difficult because I had to take into account all my wrongdoings. In the end I'm glad I did it, because it's made me realize a lot of things about myself and has made me a better man too. This one is going to be a tough one to play live, I don't think it's a single and I don't think it's a song that I'll play at every tour date. It's a song that when I decide to play it, I really, really, really have to feel it."

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PERSONNEL

Ryan Ross Hernandez – vocals, vocal harmony, acoustic guitar, electric guitar, producer
Steve Jordan – drums, percussion
Pino Paterson – bass
Robbie McIntosh – additional guitars

Additional Personnel

Nathan Lauer – piano
Taylor Cytonbaum – backing vocals, vocal harmony
Amber Crowe – backing vocals

(OOC: Thanks! Well I'm really putting a lot of work into these, more so than previous roleplays I've done.)

Edited by user 21 June 2011 07:07:12(UTC)  | Reason: Not specified

Glamazon: That definitely sounds like one to pull on the heartstrings and it sounds like a hell of a lot of emotion went into it. This is looking to be the album of the year for me. Wild.

OOC: This has all been so well thought out and well written, definitely deserves more attention! Well done. :)

Musical Information

Possessing a slight country tone, it's a perfect blend of Hernandez's past work into an excellent pop song, and the female harmony vocals behind him, make Ryan sound like some kind of powerhouse without ever trying to force his falsetto vocals. Hernandez churns out a rustic, Tom Petty two-note motif surrounded by a pleasant pop jangle to create one of the most single-ready songs on the record veering stylistically between glossy modern blues and, well, glossy modern pop; here his intent is to channel the sunny, clear (and resurgently fashionable) radio-friendly sounds of Fleetwood Mac or Tom Petty. Lyrically, Ryan is engrossed with his interpersonal struggles. Even he doesn't know where he's headed. On the lead single, the thirty-one-year-old confesses his halfhearted intents when it comes to love, and his inability of fully devoting his time to another person. Hernandez is still as quizzical and pensive as ever, but he has never been more immersed in the spotlight whilst doing so. Ryan proves on, The Halfhearted Lover, that he can still wield a guitar like a fifth limb, fashion catchy hooks or howl a quivering, feel-good falsetto just as good, or even better than he could a few years ago. The single sounds just as terrific when Hernandez drops the seriousness, pondering and sending up his reputation as a rake; portraying the dude who kisses with one eye open, scanning for his next conquest. Lyrical brooding aside, the music stirs everything from subtle country twangs to bluesy licks and simple pop melodies to accompany a chorus that is sure to be stuck in your head after first listen. The Halfhearted Lover, solidifies Hernandez as an artist who can appeal to a wide-audience.

Song Meaning by, Ryan Ross Hernandez

"The Halfhearted Lover, is I think the first song I wrote for the record. And it came out the most organic way possible. I woke up one morning with this melody stuck in my head, and the melody already had the lyrics in it. If you're songwriter you know that, if you have both the melody and lyrics come to you at the same time, it's something you really have to dive into and work on it for as long as it takes to complete it. And I think five days later, the song was completed, which is also the fastest song that everything was written and recorded in a week's time. But then later in the recording process we came back to it because I really wanted to hear a female's voice in the background, and pretty soon I found the voice I was looking for and she added some great moments to the song. This song is pretty much my, 'I wish I was born in the seventies ode, living in Laurel Canyon in LA', this is the song I would have written, if I had grown up listening to Tom Petty and Fleetwood Mac. It's about the complexity of where a lot of people are in their life right now. Where they're trying to figure out how much room they have to give to another person. This song is sort of the self-study of not being sure and being of split-mind. Right now I'm thirty-one, and I wanna run! I'm running! It's one of the most honest songs, lyrical songs on the record. It describes my feelings on love, pretty much to the point. It's not putting how I feel into a certain language of a song. It's pretty much how I feel."

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PERSONNEL

Ryan Ross Hernandez – vocals, vocal harmony, guitar, producer
Steve Jordan – drums
Pino Paterson – bass
Willy Wallace – acoustic guitars

Additional Personnel

Ophelia Cavallo – backing vocals, vocal harmony

Edited by user 15 May 2011 11:10:41(UTC)  | Reason: Not specified

Musical Information

By the time Hollywood Hills Assassin rolls around, Ryan Ross Hernandez and his backing company use harder drums, deep bass and an electric guitar to deliver a hard shot to his departed love. He is very confident in his ability to get what he wants from a woman then get out. That is until he encounters a woman with the same set of skills. Two heart-breakers battle for the others heart. It appears she wins in the end. Strong percussion and the electric guitar back the song alongside memorable lyrics, continuing the theme of love as a battlefield. Not only is the song a metaphor, but it is also Ryan's best one.The track starts off with bells slightly dissonant xylophones percolate uneasily against a moody melody, softy tapped drums and what sounds like Peruvian rainsticks; incorporates cooing soul infused "whoa-whoa-whoa"'s background vocals; and lyrically compares the secrecy and sneaking around of an assassin to that of a booty call or hook up. When the song switches gears about halfway through, goes all electric and spazzes out into a fuzzy, bluesy guitar solo, it becomes a perfect example of how Hernandez has developed into the jack-of-all-trades many critics predicted a couple of years ago. The song is very mellow -- an obsessive groove building louder toward clatter and buzz for five minutes, as Hernandez likens both parties in an apparent one-night stand to killers performing a night's mission. The song carries an air of mystery, with the constant back up vocals accompanying Hernandez's smooth, almost seductive voice. As a singer, he remains soulful and incredibly easy on the ears. His thickly layered self-harmonizing adding warmth and placidity. Hernandez's distinctive rasp at its finest. He melds poignant low and high harmonies as well as the wailing "woah-oh-oh"'s mixed into the background that serves as a dog whistle for pop aficionados. The song effectively builds momentum, as Hernandez slides through two verses before offering the catchy chorus, bringing in some guitar and singing. Although such lines in the chorus may bring to mind memories of Brad Pitt and Angelina Jolie in "Mr. and Mrs. Smith," any humor is wiped away when the killer electric guitar solo towards the bridge, which is very much the first time on this album, that we hear Ryan go filth limb on his guitar, as it shows Hernandez is dead serious about his music.

Song Meaning by, Ryan Ross Hernandez

"Hollywood Hills Assassin. The song everyone has heard for the last 4 plus months. Hollywood Hills Assassin, is a cinematic and almost film inside this five minute song. It's about a guy who is sort of a killer, but he gets taken out because he wasn't as sharp as the mark. But of course, again it's inside of the love and lovers battlefield just with this very bigger than life idea that turned the lyrical aspect to be very metaphorical. I'm not spit ballin' here though. I didn't write it after watching Mr. and Mrs. Smith. If you remove the assassin metaphors, this this song is about a fling or one-night stand. A man who just in it for the fun, but women so happen to fall in with him while he's just having fun messing around with them. But then this womanizer or player, meets a woman who he is actually having feelings for, but what she's doing to him is what he has been doing to all these other women before her. This man meets his match in that sense and she beats him in his own dirty game. I'll honestly be surprised if when women listen to this record they still find me somewhat appealing."

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PERSONNEL

Ryan Ross Hernandez – vocals, guitar, producer
Steve Jordan – drums, percussion
Pino Paterson – bass

Edited by user 03 December 2010 12:17:37(UTC)  | Reason: Not specified