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Ryan Adams | Gold

The ex-Whiskeytown genius strikes back with an eclectic album.
CD, Lost Highway/Universal

Tekst: Doug Waterman

Publicatiedatum: 08 oktober 2001

Ryan Adams' second solo effort 'Gold' is an obvious transition from the generally acoustic, self-pitying assortment of songs on his 2000 debut release 'Heartbreaker'. This is not a bad thing by any means. The album is more happy-go-lucky in a broad sense. Its buoyant flare gives it a kind of uplifting edge that isn't present in 'Heartbreaker'. The strikingly internal, poetic pieces that characterize 'Heartbreaker' are certainly not lost. However, they are replaced by several piano ballads that achieve the same lyrical spirit, and they furthermore elevate Adams' genius in crafting very original, compelling melodies. As the result of Adams' prolific, daily songwriting process, 'Gold' contains an impressively vast selection of 21 tracks (five of which are contained on a limited edition bonus disc). Producer Ethan Johns once again fosters a creative range of instrumentation and musical arrangements that heightens the album's overall effect. Several special guests contribute to the ambiance of 'Gold', including Counting Crows' front man Adam Duritz, who lends his harmonization to several tracks. The album's first track 'New York, New York', Adams' farewell to the city, sets a sanguine tone with its rollicking vocals and guitar grooves. 'Firecracker' resounds with a blistering harmonica lead. 'Answering Bell' asserts a clever lyrical catch, and 'La Cienega Just Smiled' slows the tempo down through its steadily brooding piano-guitar combination. 'Sylvia Plath', a song written about one of Adams' most esteemed, contemplative poets, offers a solemnly introspective variation on the album's development. Adams' vocal timbre artfully hangs by a thread in 'Wildflower', an intriguing acoustic track reminiscent of 'Heartbreaker'. With almost hypnotic orchestral arrangements in 'Goodnight Hollywood Boulevard' and 'The Bar is a Beautiful Place', Adams alludes to his increasing tonal diversity and his tendency to curiously explore different musical mediums. 'Touch, Feel, and Lose' brings in choir-like backing vocals (including Duritz) to produce a surprisingly likable gospel effect. 'Tina Toledo's Street Walkin' Blues', undeniably Stones-influenced, rings out with gut-wrenching, overlapping guitar riffs and speeding lyrics. In 'Sweet Black Magic' Adams briefly introduces a taste of bluegrass with a captivating guitar-banjo duet. Closing out the final disc, the barreling acoustic guitars of 'Cannonball Days' return Adams to the carefree vibe that opened the album. 'Gold' is undoubtedly the work of a musician who embraces an array of musical genres and brings a unique touch to their exploration. Still this side of 30, Adams proves that he is growing into one of his generation's finest singer-songwriters. He has an abundant gift for melody, which he intrinsically constructs in his music. 'Gold' is a sure bet.

http://www.kindamuzik.net/recensie/ryan-adams/gold/931/
Meer Ryan Adams op KindaMuzik: http://www.kindamuzik.net/artiest/ryan-adams