Votre panier est vide

Catégories :

Artistes similaires

Les albums

A partir de :
HI-RES21,49 €
CD14,99 €

Rock - Paru le 25 septembre 2001 | Lost Highway Records

Hi-Res Distinctions Discothèque Idéale Qobuz
Avec son deuxième album solo paru en septembre 2001, l’ancien chanteur de Whiskeytown décroche la lune aux Etats-Unis mais surtout en Angleterre. Stylistiquement, sa passion pour la country alternative s’estompe légèrement et le songwriter de Jacksonville montre ici de fortes accointances avec tous les grands pans du rock des années 70. Il y a du Stones (beaucoup), du Neil Young, du Dylan (période Blonde On Blonde), du Van Morrison et, bien évidemment, du Gram Parsons dans ce Gold produit par Ethan Johns. Et sur Enemy Fire, Adams croise même sa plume celle de la grande Gillian Welch qui publie, quelques jours plus tôt, son chef d’œuvre Time (The Revelator). Au bout du compte, le classicisme de façade de Gold ne doit jamais laisser entrevoir l’ombre d’un banal suiveur mais, au contraire, celle d’un très grand songwriter. © MD/Qobuz
A partir de :
HI-RES14,99 €
CD9,99 €

Alternatif et Indé - Paru le 11 juin 2021 | PaxAm Recording Company

Hi-Res
Deuxième album d’une trilogie entamée avec Wednesdays en 2020, et 18e album solo du chanteur, Big Colors a été conçu, selon ses mots, comme la bande originale d’un film imaginaire des années 1980, sorte de road-movie entre New York et la Californie. Après avoir eu des démêlés avec la justice (ce qui a bousculé le calendrier de sortie de sa trilogie), le natif de Jacksonville a décidé de mettre de la couleur dans son âme avec cet album. Mais les tons qu’il a choisis sont moins vifs que pastel, comme l’attestent les nappes de synthés oniriques et les guitares délicates qui infusent ces 12 chansons. L’influence mélancolique des Smiths sur Ryan Adams – en particulier de son guitariste Johnny Marr – se fait sentir dans des titres comme le single Fuck the Rain ou l’introspectif What I Am. A côté de ces ballades aux ambiances crépusculaires, d’autres chansons mettent en lumière la vigueur rock de Ryan Adams (Power). Contrairement à beaucoup de ses confrères, le chanteur n’a pas choisi le second degré pour rendre hommage à ces années 1980 qu’il chérit tant. C’est avec une sincérité sans faille qu’il aborde une décennie qu’il associe à « une aquarelle de fumée bleue néon s’élevant dans les rues d’été, la nuit ». © Nicolas Magenham/Qobuz
A partir de :
HI-RES14,99 €
CD9,99 €

Rock - Paru le 11 décembre 2020 | PaxAm Recording Company

Hi-Res
Janvier 2019, Ryan Adams annonce la sortie imminente de trois nouveaux albums et donne même le titre des deux premiers : Big Colors et Wednesdays. Le mois suivant, pris dans la tourmente d’accusations par plusieurs femmes (dont Phoebe Bridgers) de comportements déplacés et de harcèlement sexuel, il change ses plans, préférant attendre que la tempête médiatique lui lâche les santiags. Finalement, quelques jours avant Noël 2020, Adams sort ce Wednesdays… Après avoir surpris tout le monde en 2015 en revisitant 1989 de Taylor Swift, l’ex-Whiskeytown sonde, deux ans plus tard, son divorce avec Mandy Moore dans le touchant Prisoner. Le bonhomme a toujours excellé là-dedans, l’introspection pure et dure avec doutes, chagrins, joies et toute la quincaillerie existentielle. Si ce Prisoner navigue dans les eaux d’un classicisme hérité de Tom Petty et Bruce Springsteen, Wednesdays lorgne plutôt vers Neil Young. La belle et austère pochette reprenant un magnifique tableau de la gare du Nord en 1908 du peintre impressionniste néerlandais Siebe Johannes ten Cate introduit la tonalité anthracite et tourmentée du disque. L’explicite I'm Sorry and I Love You qui ouvre les hostilités – très youngien justement dans sa forme – confirme la fragilité émotionnelle du songwriter. Évidemment, Ryan Adams avance à chaque instant sur un chemin qu’il souhaite rédempteur. Sensation amplifiée par quelques effluves gospel ça-et-là qui s’immisce dans cet univers country folk très épuré de très belle facture. Au point que certaines chansons de Wednesdays comptent parmi ses plus inspirées et tout simplement ses plus belles… © Marc Zisman/Qobuz
A partir de :
HI-RES21,49 €
CD14,99 €

Rock - Paru le 4 mai 2004 | Lost Highway Records

Hi-Res
Like any Ryan Adams album, Love Is Hell comes with a back-story, one that is carefully calculated to construct the enfant terrible's self-myth. Love Is Hell was intended to be the official follow-up to 2001's Gold -- the album that was not a collection of demos (that was 2002's Demolition), or the recorded-but-shelved albums 48 Hours or The Suicide Handbook, or even his alleged song-by-song cover of the Strokes' Is This It. Longtime Smiths fan that he is, Adams teamed up with John Porter -- the man who produced The Smiths, Meat Is Murder, and part of The Queen Is Dead -- with the intention of creating his own mope-rock album, hence the title Love Is Hell. Americana label that it is, Lost Highway balked at releasing a stylized tribute to Mancunian rainy-day bedsit music and didn't release it, encouraging Adams to record a different album, presumably one more in line with the label's taste. In the press and on the web, our hero spread stories about how the label claimed it was "too depressing" and "dark," thereby cultivating the myth that he's a maverick genius, while the label cheerfully countered with the defense that it just knew that our boy could do better. Eventually, a compromise was arranged: Adams kicked out a new album, the self-descriptive Rock N Roll, while releasing the equally self-descriptive Love Is Hell as two EPs, the first hitting the streets the same day as the "official" album, the second arriving a month later. Five months after that, the full-length Love Is Hell, containing both EPs plus "Anybody Wanna Take Me Home" from Rock N Roll, was released, negating the worth of the individual EPs (which were, after all, merely two halves of one album) and likely irritating legions of fans who bought both EPs. While it took longer than necessary to have the whole bloody affair of Love Is Hell released as its own entity, it's hard not to view it as a companion piece to Rock N Roll, particularly because they're two sides of the same coin. In effect, both Rock N Roll and Love Is Hell are tribute albums, each a conscious aping of a style and sound, both designed to showcase how versatile and masterful Adams is. But since he's a synthesist more than a stylist, Adams, for all his bluster, winds up as a Zelig-styled character, taking on the characteristics of the artists he's emulating -- something that can be sonically pleasurable, but far from being the substantive work of mad genius that he relentlessly sells himself as. If Love Is Hell has the edge over Rock N Roll, it's because it's more carefully considered in its production and writing, and he manages to hide his allusions better than he does on Rock, where every title and chord progression plays like an homage. Here, he shoots for the Smiths and winds up in Jeff Buckley territory tempered with a dash of Radiohead circa The Bends. To claim that it is a dark affair is to criticize its milieu more than its substance, because the songs have the form and feel of brooding, atmospheric mope-rock, not the blood and guts of the music. Adams is fairly adept at crafting that mood -- anybody who's such a fan of rock history should be -- sometimes relying more on a blend of attitude and atmosphere instead of songwriting. Such is the fate of a stylized tribute to a style with specific sonic attributes, but Adams also does come up with a clutch of effective songs: the epic sprawl of "Political Scientist," which captures him at his best Buckley; the title track, which is nearly anthemic with its ringing guitars; the understated "World War 24"; the gently propulsive "This House Is Not for Sale," which would fit nicely between a Julian Cope and Morrissey track on a college radio show from the late '80s. "English Girls Approximately" is an effective Bob Dylan and Paul Westerberg fusion, and the closer, "Hotel Chelsea Nights," is one of his best songs, a mildly anthemic soulful anthem with vague overtones of "Purple Rain." Nevertheless, it's telling that the best song here is a cover of Oasis' "Wonderwall." It's a well-done cover but not much of a reinvention -- Adams uses Noel Gallagher's solo acoustic version of the song as a template, replacing strumming with fingerpicked guitars and altering the phrasing slightly -- which is why the song itself shines through so strongly: it resonates how the other songs are intended to, but don't. While it doesn't fatally hurt Love Is Hell, since it is an effective mood piece, it does undercut it, revealing how Adams delivers the sizzle but not the steak. © Stephen Thomas Erlewine /TiVo
A partir de :
HI-RES19,49 €
CD13,99 €

Rock - Paru le 17 février 2017 | Blue Note (BLU)

Hi-Res
Les peines de cœur sont des fertilisants de rêve pour tous les auteurs dignes de ce nom. Et Ryan Adams le prouve une fois de plus avec ce Prisoner qui tourne autour de son divorce avec Mandy Moore. Après avoir surpris son monde en revisitant de fond en comble le 1989 de Taylor Swift, l’ancien leader de Whiskeytown revient ici au bercail de ce qu’il sait le mieux faire. L’introspection pure et dure avec doutes, chagrins, joies et tout le reste de la quincaillerie existentielle. Le style Ryan Adams est là. Dans ce classicisme dignement hérité de Tom Petty et ses Heartbreakers mais aussi de Bruce Springsteen et qu’il peaufine à coup de refrains qui font mouche. Aucune révolution de palais dans ce seizième album comme toujours chez Ryan Adams, juste du rock’n’roll simple (jamais simpliste) qui fait du bien. Un disque à l’os, sans gras, ni esbroufe, qui ne cherche jamais à réinventer la roue mais plutôt à accoucher de la chanson parfaite. © MD/Qobuz
A partir de :
HI-RES16,99 €
CD14,49 €

Alternatif et Indé - Paru le 21 septembre 2015 | Columbia

Hi-Res
Que cela plaise ou non, l’album 1989 de Taylor Swift est l’album le plus vendu de l’année 2014 et il est impossible d’être passé à côté de cette collection de hits distribués par la jeune chanteuse américaine. Ryan Adams, en tout cas, n’est pas resté indifférent face à ce succès et a créé la surprise en annonçant reprendre l’intégralité du disque pour le mettre à sa sauce…lui donnant, d’après ses propres mots, un style « The Smiths ». Le fait que le chanteur se laisse inspiré par tout et n’importe quoi n’est pas nouveau, et c’est d’ailleurs la marque d’un grand artiste de laisser sa créativité être attisée par tout ce qui l’entoure. 1989 version Ryan Adams est un régal pour les oreilles et un trésor de trouvailles, transformant la pop pure et dur de Swift à travers des arrangements tantôt folk, tantôt rock qui fonctionnent bizarrement sans difficulté. Hommage ou simple fantaisie ? Peu importe tant le résultat est plaisant. © LG/Qobuz
A partir de :
CD14,49 €

Alternatif et Indé - Paru le 10 octobre 2011 | Columbia

Pour son nouvel album, Ryan Adams semble avoir épuré son écriture, lorgnant parfois vers Neil Young. Il retrouve la flamme géniale de son légendaire Heartbreaker. Une dernière chance pour lui de redevenir le grand bonhomme de l’americana que ce disque avait laissé présager en 2000 mais qui ne fut jamais réellement transformé par la suite. Avec ce Ashes & Fire, entre rock classique et country rock, le songwriter américain n’avait pas brillé de la sorte depuis bien longtemps…
A partir de :
HI-RES21,49 €
CD14,99 €

Rock - Paru le 25 juin 2007 | Lost Highway Records

Hi-Res
Easy Tiger has a "slow it down there, pal" undertone to its title -- and who needs a word of caution other than Ryan Adams himself, who notoriously spread himself far and wide in the years following his 2000 breakthrough Heartbreaker. After celebrating his 30th birthday with a flurry of albums in one year, Adams decided to pull back, hunker down, and craft one solid album that deliberately plays to his strength. As such, Easy Tiger could easily be seen as the album that many of his fans have wanted to hear since Heartbreaker, a record that is tight and grounded in country-rock. Easy Tiger is focused, but so have been some of the other thematic albums Adams has delivered with such gusto -- when he tried to run with the Strokes on Rock N Roll, mimicked the Smiths and Jeff Buckley on Love Is Hell, even turned out a full-on country album in Jacksonville City Nights, complete with knowing retro cover art, he stayed true to his concept -- but the cumulative effect of the records was to make him seem scattered, even if the records could work on their own merits. With each album since the wannabe blockbuster of 2001's Gold, his restlessness has seemed not diverse but reckless, so even his good albums seemed to contribute to the mess. Easy Tiger intends to break this perception by being concise, right down to how every one but one of these tight 13 songs clock in somewhere between the two-and-a-half and three-and-a-half minute mark. For somebody as doggedly conceptual as Adams, this is surely a deliberate move, one designed to shore up support among supporters (no matter if they're fans or critics), which Easy Tiger very well might. Surely, it is a welcoming album in many ways, partially due to the relaxed Deadhead vibe Adams strikes up with his band the Cardinals, reminiscent of 2005's fine Cold Roses. But if that CD sprawled, this one is succinct, as Adams flits through country-rockers and weepers -- plus the occasional rock detour, like anthemic '80s arena rocker "Halloween Head" or the spacy "The Sun Also Sets," a dead ringer for Grant Lee Phillips -- containing not an ounce of fat. Adams benefits from the brevity, most notably on the sweetly melancholy "Everybody Knows," the straight-up country of "Tears of Gold," or on "Two," which mines new material out of the timeworn "two become one" conceit. Here, his songs don't stick around longer than necessary, so they linger longer in memory, but the relentless onward march of Easy Tiger also gives the performances an efficiency bordering on disinterest, which is its Achilles' heel. As fine as some of the songs are, as welcoming as the overall feel of the record is, it seems a bit like Adams is giving his fans (and label) "Ryan Adams by numbers," hitting all the marks but without passion. This is when his craft learned from incessant writing kicks in -- he can fashion these tunes into something sturdy and appealing -- but it also highlights how he can turn out a tune as lazily as he relies on casual profanity to his detriment. Ultimately, these flaws are minor, since Easy Tiger delivers what it promises: the most Ryan Adamsy Ryan Adams record since his first. For some fans, it's exactly what they've been waiting for, for others it'll be entirely too tidy, but don't worry -- if Adams has proven to be anything it's reliably messy, and he's sure to get ragged again somewhere down the road (and based on his past record, safe money is on October 2007). © Stephen Thomas Erlewine /TiVo
A partir de :
HI-RES16,99 €
CD14,49 €

Alternatif et Indé - Paru le 9 septembre 2014 | Columbia

Hi-Res
C’est parfois le premier. Quelques-fois le deuxième. Eventuellement le cinquième. Voire le quinzième… Pour Ryan Adams, il s’agit du quatorzième. Oui il arrive presque toujours dans la discographie d’un artiste ou d’un groupe que paraisse un album éponyme. Ryan Adams de Ryan Adams, son quatorzième album studio donc, déboule donc dans la carrière d’un songwriter dont les dernières bonnes nouvelles n’étaient guère récentes (décentes ?). Si notre homme déclare avoir écrit ce nouveau disque sous l’influence de la musique des Smiths et du Velvet Underground, on cherche en vain une quelconque goutte de l’ADN de ces deux mythiques formations… Ryan Adams est un disque assez attachant. Le style du chanteur est là. Dans ce classicisme dignement hérité de Tom Petty et ses Heartbreakers et qu’il peaufine à coup de refrains qui font mouche et de paroles savamment soupesées. Aucune révolution de palais ici, juste du rock’n’roll basic qui fait du bien. Un disque à l’os, sans gras, ni esbroufe. Ses fans apprécieront. Comme ceux de Petty ou de Springsteen qui trouveront ici un esthète de la chose rock. © MD/Qobuz
A partir de :
HI-RES25,49 €
CD17,99 €

Rock - Paru le 28 avril 2017 | Blue Note (BLU)

Hi-Res
A partir de :
HI-RES21,49 €
CD14,99 €

Rock - Paru le 4 novembre 2003 | Lost Highway Records

Hi-Res
Ryan Adams is the male Courtney Love -- a hard-working hustler with impeccable taste who talks such a good game that it deliberately overshadows his music. Of course, Adams differs from Courtney in many crucial ways. For one, he's a workaholic, recording and releasing more albums than he should, which also points out that, unlike Love, he doesn't need a collaborator to help shove his songs over the goal. But the crucial similarity is that they're both students of rock history, conscious of what accounts for good taste within rock crit land, from 1973 to 2003. They don't just know the canon -- they want to be part of the canon, to the extent that it seems that they want to be the artist that all rock history has inextricably pointed to (or to paraphrase the far more eloquent Morrissey, they want to be the end of the family line). Which is why it rankles Adams when he's pigeonholed as an alt-country singer/songwriter (he's right -- he hasn't been alt-country since he left Whiskeytown) when Jack White steals his spotlight by doing a related, but not similar, spin on roots rock: he's so clearly the Important Artist of the Decade that he needs to pull the spotlight back on himself whenever it's shining somewhere else. With Gold in the fall of 2001, the wind was at his back -- his enfant terrible schtick was still relatively fresh, "New York, New York" became a post-9/11 anthem, and the music was eclectic enough to break him out of the alt-country ghetto, even as it was rootsy enough to still play to that core audience. By 2003, things were getting a little dicey for Adams, partially because he wouldn't shut up -- either to the press or on his online blog; he said many things to both, the most noteworthy being a bizarre pseudo-feud with the White Stripes, where he yo-yoed between calling Jack White a genius and kid's stuff -- and partially because he had diarrhea of the recording studio, cutting more stuff than Lost Highway could possibly release, particularly because he was moving further away from the label's core alt-country audience. They released the demos collection Demolition in 2002 but balked at Love Is Hell, his mope-rock tribute recorded with Smiths producer John Porter, but after some discussion, it was decided that Love Is Hell would surface as a pair of EPs, while Lost Highway would get a big, shiny new rock & roll record. Wearing his intentions on his sleeve in a nearly cynical manner, Adams called the album Rock N Roll, though in a fit of rebellious piss and vinegar, the artwork has it displayed as a mirror image: Llor n Kcor, which isn't quite Efil4zaggin, but the spirit is nonetheless appreciated. The title is so simple it belies the fact that this is a bit of a concept album on Adams' part, a conscious attempt to better the Strokes and the White Stripes at their own game while he performs a similar synthesis of glam rock and Paul Westerberg while dabbling in the new new wave of new wave spearheaded by Interpol to prove that he can do the arty thing too (though that proof is reserved for the Jeff Buckley-aping Love Is Hell). It's not just that the sound echoes bands from the past and future; the titles consciously reference other songs: "Wish You Were Here," "So Alive," "Rock N Roll," and "Boys" borrow titles from Pink Floyd, Love and Rockets, Led Zeppelin, and the Beatles/Shirelles, respectively; "The Drugs Not Working" reworks the Verve's "The Drugs Don't Work," "She's Lost Total Control" is a play on Joy Division's "She's Lost Control," "1974" harks back to the Stooges' "1969" and "1970," "This Is It" is an answer song to the Strokes' "Is This It," and "Note to Self: Don't Die" apes Norm MacDonald's catch phrase. These songs don't necessarily sound like the songs they reference, but there sure are a lot of deliberate allusions to other styles and bands: tunes that sound a bit like the Strokes, songs that sound like Westerberg, tracks patterned after Interpol but sounding like U2, and the glam songs that are meant to sound like T. Rex or the New York Dolls but come out as Stone Temple Pilots. While some of the material suggests that the record was written in a hurry -- instead of lyrics, "Wish You Were Here" sounds like a transcript of Tourette's syndrome -- many songs exhibit considerable studiocraft and songcraft, a reflection of Adams' exceptional taste and skill as a musician. But while some of the songs are undeniably catchy, they're essentially the sound of somebody responding to his influences and peers, sometimes in an alluring way, but not quite carving out a personal, idiosyncratic vision. That said, it's not a bad listen at all, particularly when Adams gets caught up in the sound of it all and sounds consumed by passion instead of mimicking it -- for reference's sake: "This Is It," "1974," "Luminol," and "Burning Photographs." © Stephen Thomas Erlewine /TiVo
A partir de :
HI-RES15,49 €
CD10,99 €
29

Rock - Paru le 10 janvier 2006 | Lost Highway Records

Hi-Res
Heaven knows why Ryan Adams decided to release three albums in the calendar year of 2005. He's always been prolific to a fault, boasting about completed unreleased albums when his latest work was just seeing the light of day, but he never saturated the market with new material the way he did in 2005, when it seemed he was trying to break Robert Pollard's record for most music released within a year. Grinding out three albums in a year is a marathon, not just for Adams but for any of his listeners, and by the time he got to the third album, 29, in the waning weeks of December, he seemed like a winded long-distance runner struggling to cross the finish line: completing the task was more important than doing it well. There's little question that 29 is the weakest of the three records Adams released in 2005, lacking not just the country-rock sprawl of Cold Roses but the targeted neo-classicist country that made Jacksonville City Nights so appealing. Which isn't to say that 29 doesn't have its own feel, since it certainly does. After opening with the title track's straight-up rewrite of the Grateful Dead's "Truckin'," it slides into a series of quiet, languid late-night confessionals that all barely register above a murmur. It's like Love Is Hell transported to a folk/country setting, then stripped not only of its sonic texture but also its songwriting skeleton. Apart from "29" and to a lesser extent "Carolina Rain" and "The Sadness," these songs meander with no direction; they have a ragged, nearly improvised feel, as if Adams spilled out the words just as the tape started to roll. Now plenty of great songs have been written exactly in that fashion, but they never feel as if they were made that way -- or if they do, they get by on a sense of kinetic energy. With the aforementioned exceptions, the songs on 29 never have energy and they always feel incomplete, lacking either a center or a sense of momentum, nor ever conjuring the alluringly weary melancholia that carried Love Is Hell. Instead, it's the first time Adams has sounded completely worn out and spent, bereaved of either the craft or hucksterism at the core of his work. He would have been better off ending 2005 with just two albums to his credit and letting 29 co-exist in the vaults alongside The Suicide Handbook and his other completed, unreleased records, since having this in circulation adds a sour finish to what was otherwise a good year for him. © Stephen Thomas Erlewine /TiVo
A partir de :
CD10,99 €

Rock - Paru le 1 janvier 2002 | Lost Highway Records

A partir de :
CD14,99 €

Pop - Paru le 1 janvier 2001 | Lost Highway Records

C’est avec Gold (et après le galop d’essai d’Heartbreaker) que Ryan Adams décide, alors âgé de vingt-sept ans, de prendre à bras le corps son destin de compositeur et chanteur, et de s’imposer sur la scène internationale comme un artiste prééminent. Ce deuxième album en solo (que le chanteur souhaitait double, se heurtant alors au veto de son label) constitue en effet une réussite commerciale (la plus éclatante d’Adams), saluée dans son propre pays, en Europe, et jusqu’en Nouvelle-Zélande. « When The Stars Go Blue » (dont on retrouve une partie du texte dans un roman de Stephen King) sera chantée par The Corrs, « New York, New York » marquera durablement les esprits dans le contexte des attentats du 11 septembre, et « The Rescue Blue » sera utilisé pour le compte du film Behind Enemy Lines (avec Gene Hackman). De nouveau produit par Ethan Jones (toujours aussi élégant dans ses choix esthétiques), il accueille quelques prestigieux invités, comme l’organiste Benmont Tench. Artistiquement, Adams tente manifestement d’offrir une synthèse aboutie entre les canons de compositions à la Dylan, si Dylan pouvait être accompagné des Replacements, et une profondeur que ne désavouerait pas Van Morrison. On relève plus loin les influences assumées des Rolling Stones, ou de Neil Young, ce qui démontre amplement que l’homme a du goût. L’entreprise est donc couronnée de succès, même si l’on y déniche plus souvent du savoir-faire que de la fièvre : avec Gold, Ryan Adams appartient désormais à la frange majeure des artistes de sa génération. L’album intègrera le Top 60 des charts américains, et le single « New York, New York » frôlera le Top 100 de sa catégorie.     © ©Copyright Music Story Christian Larrède 2017
A partir de :
CD13,99 €

Rock - Paru le 17 février 2017 | Blue Note (BLU)

Les peines de cœur sont des fertilisants de rêve pour tous les auteurs dignes de ce nom. Et Ryan Adams le prouve une fois de plus avec ce Prisoner qui tourne autour de son divorce avec Mandy Moore. Après avoir surpris son monde en revisitant de fond en comble le 1989 de Taylor Swift, l’ancien leader de Whiskeytown revient ici au bercail de ce qu’il sait le mieux faire. L’introspection pure et dure avec doutes, chagrins, joies et tout le reste de la quincaillerie existentielle. Le style Ryan Adams est là. Dans ce classicisme dignement hérité de Tom Petty et ses Heartbreakers mais aussi de Bruce Springsteen et qu’il peaufine à coup de refrains qui font mouche. Aucune révolution de palais dans ce seizième album comme toujours chez Ryan Adams, juste du rock’n’roll simple (jamais simpliste) qui fait du bien. Un disque à l’os, sans gras, ni esbroufe, qui ne cherche jamais à réinventer la roue mais plutôt à accoucher de la chanson parfaite. © MD/Qobuz
A partir de :
CD9,99 €

Rock - Paru le 5 octobre 2018 | gOLDfISh reCORds

A partir de :
HI-RES15,29 €
CD11,99 €

Pop - Paru le 21 février 2013 | Pax Am Records

Hi-Res
A partir de :
CD0,99 €

Alternatif et Indé - Paru le 23 avril 2021 | PaxAm Recording Company

A partir de :
CD14,99 €

Rock - Paru le 1 janvier 2007 | Lost Highway Records

A partir de :
CD10,99 €

Rock - Paru le 4 mai 2004 | Lost Highway Records

Like any Ryan Adams album, Love Is Hell comes with a back-story, one that is carefully calculated to construct the enfant terrible's self-myth. Love Is Hell was intended to be the official follow-up to 2001's Gold -- the album that was not a collection of demos (that was 2002's Demolition), or the recorded-but-shelved albums 48 Hours or The Suicide Handbook, or even his alleged song-by-song cover of the Strokes' Is This It. Longtime Smiths fan that he is, Adams teamed up with John Porter -- the man who produced The Smiths, Meat Is Murder, and part of The Queen Is Dead -- with the intention of creating his own mope-rock album, hence the title Love Is Hell. Americana label that it is, Lost Highway balked at releasing a stylized tribute to Mancunian rainy-day bedsit music and didn't release it, encouraging Adams to record a different album, presumably one more in line with the label's taste. In the press and on the web, our hero spread stories about how the label claimed it was "too depressing" and "dark," thereby cultivating the myth that he's a maverick genius, while the label cheerfully countered with the defense that it just knew that our boy could do better. Eventually, a compromise was arranged: Adams kicked out a new album, the self-descriptive Rock N Roll, while releasing the equally self-descriptive Love Is Hell as two EPs, the first hitting the streets the same day as the "official" album, the second arriving a month later. Five months after that, the full-length Love Is Hell, containing both EPs plus "Anybody Wanna Take Me Home" from Rock N Roll, was released, negating the worth of the individual EPs (which were, after all, merely two halves of one album) and likely irritating legions of fans who bought both EPs. While it took longer than necessary to have the whole bloody affair of Love Is Hell released as its own entity, it's hard not to view it as a companion piece to Rock N Roll, particularly because they're two sides of the same coin. In effect, both Rock N Roll and Love Is Hell are tribute albums, each a conscious aping of a style and sound, both designed to showcase how versatile and masterful Adams is. But since he's a synthesist more than a stylist, Adams, for all his bluster, winds up as a Zelig-styled character, taking on the characteristics of the artists he's emulating -- something that can be sonically pleasurable, but far from being the substantive work of mad genius that he relentlessly sells himself as. If Love Is Hell has the edge over Rock N Roll, it's because it's more carefully considered in its production and writing, and he manages to hide his allusions better than he does on Rock, where every title and chord progression plays like an homage. Here, he shoots for the Smiths and winds up in Jeff Buckley territory tempered with a dash of Radiohead circa The Bends. To claim that it is a dark affair is to criticize its milieu more than its substance, because the songs have the form and feel of brooding, atmospheric mope-rock, not the blood and guts of the music. Adams is fairly adept at crafting that mood -- anybody who's such a fan of rock history should be -- sometimes relying more on a blend of attitude and atmosphere instead of songwriting. Such is the fate of a stylized tribute to a style with specific sonic attributes, but Adams also does come up with a clutch of effective songs: the epic sprawl of "Political Scientist," which captures him at his best Buckley; the title track, which is nearly anthemic with its ringing guitars; the understated "World War 24"; the gently propulsive "This House Is Not for Sale," which would fit nicely between a Julian Cope and Morrissey track on a college radio show from the late '80s. "English Girls Approximately" is an effective Bob Dylan and Paul Westerberg fusion, and the closer, "Hotel Chelsea Nights," is one of his best songs, a mildly anthemic soulful anthem with vague overtones of "Purple Rain." Nevertheless, it's telling that the best song here is a cover of Oasis' "Wonderwall." It's a well-done cover but not much of a reinvention -- Adams uses Noel Gallagher's solo acoustic version of the song as a template, replacing strumming with fingerpicked guitars and altering the phrasing slightly -- which is why the song itself shines through so strongly: it resonates how the other songs are intended to, but don't. While it doesn't fatally hurt Love Is Hell, since it is an effective mood piece, it does undercut it, revealing how Adams delivers the sizzle but not the steak. © Stephen Thomas Erlewine /TiVo

L'interprète

Ryan Adams dans le magazine