Ryan Adams: Love Is Hell - 2004


This was, to an extent, a continuation of Rock 'n' Roll, as many journalists have said, but, for me, it is far more refined. It is far higher on the gloominess scale for a start and much less on the speaker-shaking. Acoustic guitar features a lot more too. Adams said of it that it was "a lot like Heartbreaker, but better and more severe. It's complex and it's damaged".

It begins with an atmospheric, haunting number in Political Scientist that sees Ryan whispering his vocals over a nice bass and keyboards backing. Some of the percussion is almost jazzy at times. It is one of his mature compositions thus far. Also sombre and understated is Afraid Not Scared. I really love the moody, slow backing on this one - the sound quality is superb.

Also evocative and mature-sounding is the Springsteen/Petty-ish This House Is Not For Sale. Some jangly guitar and incisive riffs drive along the impressive mid-pace rock of Anybody Wanna Take Me Home. The song has a catchy, Brit-Pop style chorus. It also sounds like The Smiths in places. That familiar U2 vibe is back on Love Is Hell together with another infectious hooky, riffy backing. Then we get a cover of Oasis's iconic Wonderwall. Adams turns it into a sleepy studenty lament. It's ok, actually, but the original is so entwined with Oasis that it is an odd listen. Love the subtle bassline though.

Bleak and piano-driven is The Shadowlands that bursts out into a solid drum and guitar song half way through. World War 24 is steady and pleasant with a later-era Springsteen feel present once more. Something about the melody. In the same vein is the quiet, reflective Avalanche.  Even more moody is the late night My Blue Manhattan and then Please Do Not Let Me Go almost has me nodding off. 

Things get a bit livelier on the Smiths meets post punk of City Rain, City Streets. This is a bit Deacon Blue-ish too. The gentle, acoustic I See Monsters bring back the hippy-style blissed-out feeling, however. The Dylanesque-titled English Girls Approximately is a largely acoustic number too but it has a strength about it and an emotional power.

Thank You Louise is also airy and quiet and the album ends on the slow, slightly bluesy Prince sound-alike of Hotel Chelsea Nights - we've been here before haven't we? It's a good track though. 

The album was another long one at nearly seventy minutes and some editions such as the one whose rear cover is shown below included seven extra tracks on sides five and six. In some ways, Adams' prolificness was his downfall. There are just too many songs and many of them are introspective and melancholic. I began to tire half way through despite the quality of much of the material. The best stuff is on the first half.

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