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Ryan Adams
Demolition



2002’s low-key offering from Elton John endorsed boy wonder.

Ryan Adams

It’s a testament to Ryan Adams’ mercurial songwriting ability that a record essentially made up of leftovers and ‘non-releases’ from previous albums stands out amid a discography as long as the singer’s pharmacological shopping list. Ethan Johns’ laissez-faire production style complements Adams’ songcraft perfectly, especially on Cry On Demand, a song whose playful, bittersweet melancholy captures the essence of the album. Demolition garnered accolades from a steadily growing list of celebrity Adams-fans, including Elton John, Alanis Morissette and Bono, who all saw the genius buried within the mayhem of Adams’ on/offstage performances. Even nonchalant rocker Starting To Hurt achieves the kind of the intimate, credible stadium feel that U2 have been striving for their entire career. Since embarking upon a somewhat erratic solo career that often threatened to disappear amidst the ether of regrettable YouTube clips, Adams has self-documented his rocky ride, up, down and around the block. The achingly poignant lyrics on Hallelujah show Adams’ frustrating awareness of his own tendency to balls things up: “If I could have a simple love, how would it feel and what would it mean? / I’d only trade you in, for a Mary Magdalene.” Art, imitating life, imitating art, imitating life, ad infinitum.

David Harfield

Posted by Ross_Bennett at 6:00 AM GMT 18/12/2008

Further Listening

Ryan AdamsHeartbreaker (Bloodshot, 2000)

Jesse MalinThe Fine Art Of Self-Destruction (Artemis, 2002)

Neil Young After The Gold Rush (Reprise, 1970)


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Ryan Adams

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