Gold - Ryan Adams > Reviews > The spirit of Gram Parsons made whole again.

Author's product rating:   

Originality	Groundbreaking
Lyrics	Sublime
Quality and consistency of tracks	A couple of weak links
How does it compare to the artist's other releases	Outstanding
Value for Money	Good

Advantages:	beautiful and emotional songs
Disadvantages:	none

Recommend to potential buyers:

yes

Full review

Ryan Adams would probably have no problem with me describing him as "the bastard son of Gram Parsons". Not only does the whole alt-country scene owe a great debt to the country rock pioneers of those days, but Adams seems to be living the same troubled life that led parsons to death at such a young age. Starting in punk bands, as anyone of a similar age seems to have done, he first found recognition with Whiskeytown, a raw aged country-rock hybrid that suffered from an ever-changing line up due to Adams own difficult nature. It was probably obvious to all concerned that Adams would find a better place as a solo musician, reducing the need for diplomacy and compromise that have never been his strong point, but which are skills that are required to hold a band together.

In 2000 his first solo album Heartbreaker was recorded and the seal of approval was given when Emmylou Harris, Parsons backing vocalist back in his heyday, sang on the track "Oh My Sweet Carolina". Critics loved the album though sales were low, but it was not long before this prolific artist returned with another set of songs and 2001's Gold proved to be not only his best selling album to date but opens with the song that he is probably best known for.

"New York, New York" is one of those lucky breaks for all the wrong reasons. Don't get me wrong it's a cracking song and deserves the status that it obtained; from the moment that the up tempo rhythms of a lone acoustic guitar kick in closely followed by single emphasising power chords and funky percussive beats, you know that something great is happening. By the time the full drum kit is driving the song along and Adams is narrating this bittersweet love affair with his adopted home, you will be dancing around uncontrollably. A Hammond organ gives it that slightly fashionable retro sound, but its fresh tempo and clean spacey style places it very much in the twenty first century. Like I say, a great song, but it was the video that did all of the work. On the 9th of September Adams recorded a simple one-man performance video on the Brooklyn waterfront to go with the first release from the album, the twin towers looming large over his shoulder. 48 hours later they were gone and Adams single became the anthem of the people of New York during those dark times.

The second track "Firecracker" is another infectious number, this time harmonica dominates and a piano cements the guitar to the back beat and the harmonies twist round the music and really add a glorious finish to number. Again foot tapping is the order of the day and the album seems to be heading off firmly in a country rock direction. But if those two numbers tip a cowboy hat to Adams lively past, "Answering Bell" prepares us for the more laid back and subtle stance that he has adopted as he's matured. This is almost a soul number with a country make over, steel pedal guitars and banjo licks interplay in the background but the with different instrumentation the song would not sound out of place on a Marvin Gaye album.

At this point the album slips into a different groove, "La Cienega Just Smiled" and "The Rescue Blues" both feature the piano a lot more and the pace slips back a notch into a laid-back blues ballad territory. But Adams is not a voice that ever sounds less than pained and it suits these numbers and stops them from becoming just another slow ballad, the latter incorporating some wonderful gospel harmonies as it builds to a powerful finish. There is a lot of experimentation on this album, which shows the prolific and creative nature of the man. Many artists would be content to stick to the style that they had become known for but Adams is brave enough to thread all sorts of musical ideas and converging styles through his music. "When the Stars Go Blue" is a minimal heart wrenching ballad just a lonely man wrenching every ounce of emotion out of his acoustic guitar, "Sylvia Plath" is similarly wind swept a sparse but hear employing a piano and a violin.

After mellowing out somewhat the power chords and overdriven electric guitar of "Enemy Fire" comes as quite a shock after the previous numbers. It's a song of power and restraint; the song struts along slowly, building suspense and dynamic, awaiting that big change that never happens. Adams allows himself a bit of an electric guitar work out for a change but doesn't need to prove anything by getting too carried away. What ever he turns his hand too, his tortured country credentials are evident particularly on "Harder Now That Its Over" an intimate tale of two people who self destruct in a relationship, all that remains is this lovelorn unrequited swan song. "Tina Toledo's Street Walkin'Blues" is that step into Stones territory that you know he really belongs in and the album winds down with the wistful "Goodnight, Hollywood Blvd." A piano ballad that really puts a full stop to the album.

Although Adams has made many albums since, sales have never topped this album and as it stands this album is regarded as his finest hour to date. If you want an introduction to one of the most creative country rockers of recent times, a man that wears his heart on his sleeve, sings pure pained emotion to create some beautiful songs then this album is for you. Its like Gram Parsons never died.