Ryan Adams
Throughout the '90s, Country music's mode of operation was "cleaning up" the '70s Eagles sound and riding it to the bank. With M.O.R. pap spewing from Country radio it looked as though the time was right for Alt. Country. Like Outlaw Country, which blew away the stale Nashville establishment in the '70s, Alt. Country seemed ready to break through. Only one thing - it didn't happen. Seems the Country crowd liked their music by-the-numbers and the emotions all glossy. Too bad. A lot of good, and maybe near great, Alt. Country groups, like Whiskeytown, came and went with barely any notice, except from the occasional non-Country music critic. Fat lot of good it did them.
Whiskeytown's volatile frontman, Ryan Adams hit the solo road following his band's demise. His first effort, another Alt. Country album (some people are slow on the uptake) was a musically compelling but a lyrically depressing collection (critics loved it) that failed to register. Losing the gloom and turning more toward Rock, Adams recorded the L.A. (the North Carolina native's residence) influenced "Gold" in '01. The album featured "New York, New York" (yeah, it's supposed to be about L.A.), "Firecracker" and "Goodnight Hollywood Boulevard." "Demolition" followed a year later.
Anyone who appears on their album cover holding an electric guitar had better be prepared to deliver. '03 release "Rock N Roll" does just that. Adams released the acoustic oriented twin EPs "Love Is Hell - Part 1 & 2" in late '03 and early '04. Then he managed to break his wrist falling off the stage during a Liverpool concert.
'05 was a busy one for Adams. During the year, he and his band, the Cardinals, put out the Country-oriented "Jacksonville City Nights." There was also the acoustic - piano/guitar - leaning "29" and the double album "Cold Roses," which fell in the middle.
Adams spent much of '06 touring the U.S. and Europe. He and the Cardinals took time out to work on Willie Nelson's "Songbird." Adams produced and the Cardinals played. The album received tepid reviews.
The following year, Adams revealed that he had beaten addiction. He said that he routinely snorted heroin cut with cocaine, took speedballs and abused alcohol and pills. Given his work ethic and prolific nature, the news came as a surprise, though it probably accounts for some of his more laidback efforts. Adams credited his girlfriend Jessica Joffe and Alcoholics Anonymous for getting him through the ordeal. "Easy Tiger" hit that summer.
Whiskeytown's Alt. Country and Adams debut solo album are, like Jack Daniels, an acquired taste. Not that it's bad, there's just a lot to go through to get it. The far more accessible and accomplished "Gold" does the job. Adams is a prolific songwriter, writing or co-writing all the tracks. Various musicians, including guitarist Chris Stills (yes, he's the son of Stephen), Counting Crow's Adam Duritz and keyboardist Benmont Tench (whose day gig is Tom Petty & the Heartbreakers) help out. '02 release "Demolition," a compilation of previously unreleased material starts strong with the Country tinged "Nuclear." The raw throat Rocker "Starting To Hurt," the shuffling "Tennessee Sucks" and the acoustic flavored, harmonica spiked "Hallelujah" are recommended. But the rest of the album lacks the kick and general fun of its predecessor.
The five people that actually buy Alt. Country CDs might view "Rock N Roll" as a sell out. But everyone else will be happy with Adams' effort. Opener "This Is It" signals that the electric guitar is the driving force. "Shallow" has a "taken me higher than I've ever been" theme that just about falls into a T-Rex groove (without losing its footing) while the free floating "So Alive" has an intrinsic appeal. "1974" ("like the day I was born") is another exceptional track. Everyone knew Adams had it in him. "Rock N Roll" proves the point.
On "Love Is Hell - Part 1 & 2" EPs Adams continues his "write 'em/record 'em" mode. For the most part these acoustic ramblings range from forgettable to irritating. The exceptions on "Part 1" include an acoustic version of the Oasis classic "Wonderwall." Clearly out of the Rock context, the song takes on a different, more intimate feeling. "Love Is Hell" actually brings some life (and electric guitars) to the proceedings. "Part 2" has the pleasant "English Girls Approximately."
With a musical chameleon like Adams (he's even dabbled in Hip-Hop) it's tempting to catalog the influences or styles on a particular album and call it good. Sure, Adams channels Neil Young ("Goodnight Rose" and "Off Broadway" in particular) here and there on "Easy Tiger" but he uses it within the context of the song.
Young was probably not the originator of that rough, whiney, high-nasal tone but he was the first to sell it to the Rock audience. Like Bob Dylan, Young's songs told stories where his vocal limitations added credibility. Adams can pull that off too effectively using the same sort of inflections to anchor a track.
There's a nod toward Dwight Yoakam ("Tears Of Gold") while the album ends with Bluegrass and acoustic Country songs. OK, Adams can sound like other people, so how's he do on his own hook? Pretty good. Two songs, the introspective ballad, "Two" (my money's no good when I'm up to no good"), with vocal help from Sheryl Crow, and airy, free-flowing "Two Hearts" show Adams at his most self-expressive, confident and accomplished. The set's curve is "Halloween Head." In this dark, impressionistic song Adams describes a street scene Lou Reed would appreciate.