Link: Ryan Adams
Inside Pulse:
Ryan Adams has always had a steady creative output ever since he left Whiskeytown. His solo debut, Heartbreaker, made him a critical darling back in 2000 and he swiftly followed it up with the more polished Gold the year after. A bunch of demos and studio outtakes from those sessions were cobbled together into something resembling a proper album, Demolition, in 2002, at which point the creative output became more of a downpour. His dark, brooding Love Is Hell was released as two separate EPs in 2003 at the behest of the record company, who were far more interested in promoting the more straightforward Rock N Roll album instead. After a broken wrist curtailed Adams’ touring schedule, they then released Love Is Hell as a whole album anyway, a rather baffling decision. A quiet 2004 gave way to a loud 2005 for Adams as he released three albums. The first two, Cold Roses (a double album) and Jacksonville City Nights were made in conjunction with his new band, The Cardinals. This third album, 29, is the return of the solo Ryan Adams, singing songs written by Ryan Adams, performed by Ryan Adams, and all about Ryan Adams.
Yes, it’s the ol’ self-exploration album. In his own words, Adams says “It’s really cerebral. The theme of it was that I wanted to write a record where I could write myself out of my twenties. So for each year of my life, in my twenties, I kind of assigned different parts of my character, I gave them names.” Coming from somebody who has never exactly been shy when it comes to proclaiming the state of his own genius, this is one album that could well just plain irritate before even being heard due to the self-absorbed concept. However, the album succeeds in spite of itself. Perhaps a great deal of the credit should be attributed to the presence of Ethan Johns as producer, the same man responsible for the touching Heartbreaker album. If Adams is really having some sort of premature mid-life crisis upon hitting his 30s then it has at least been expressed through his restrained alt-country mode rather than with his hyper-rock poseur tendencies, which have never flattered him. It also doesn’t hurt that the original plan for nine nine-minute tracks was scuppered by the limitations of the CD format. In the end, Adams comes through with flying colours. From top to bottom, this is his greatest album in years.
Positives:
+ The talk about using characters to describe his twenties could have backfired horribly but the lyrics are sly and well-crafted, particularly the poetic “Strawberry Wine”. Only the title track is immediately autobiographical but it carries enough swagger to shake off any possible inflicted burdens with good humoured punches.
+ Quite apart from the lyrics, Adams is also a highly accomplished musician and the instrumental second-half of “Elizabeth, You Were Born To Play This Part” is one of the most beautiful pieces of music in recent memory.
+ This album sits well as a sequel-of-sorts to Heartbreaker. The intent and the subject matter are similar in both albums but this one shows a genuine progression and maturation in the ability of a truly unique and talented artist.
Negatives:
– “Night Birds” is a decent tune but sadly it is hampered by a case of over-production, which is especially rare for this album. The song would be fine but the polished ending ruins it.
– This may be pedantic but somebody should really let him know that there are ten years in a decade, not nine…
Cross Breed:
Imagine if you will film written by Quentin Tarantino, directed by Cameron Crowe and with a Neil Young soundtrack and you’ll get the right impression of 29.
Reason To Buy:
Because somewhere in those quiet, haunting, cold moments in the winter nights you will be feeling something that only certain special pieces of music can touch. This album is one such piece.
