Opening with the first single Gimme Something Good, this self-titled album is the 14th by Ryan Adams, and it’s already shaping up to be my favourite Ryan Adams album since 2004’s Love Is Hell.
The album has a late 70s Bruce Springsteen/ Tom Petty feel to it. I think it’s safe to say that this is a classic rock influenced album.
Heartbreaker Benmont Tench provides the organ and piano so no surprise that there are nods to the classic Tom Petty Damn the Torpedoes sound
The sparse instrumentation on the intro to Kim is a joy to hear – just guitar, vocals and a distant keyboard before the full band kicks in.
“I watched you walk away, to be with him, Kim”
The production also harks to a bygone era – instruments panned sharply left or right, dry reverb-free drums. This album could have been released in 1979 and would not have sounded out of time.
Am I Safe is an acoustic driven but lyrically edgy track with some wonderful Johnny Marr’esque riffing. And maybe a hint of Fleetwood Mac in the backing vocals. A definite highlight of the album.
“All these things keep runnin’ through my mind”
My Wrecking Ball is a Springsteen like title, and a Springsteen like lyric (it’s all about cars and girls, right?). A stripped back arrangement highlights Ryan’s wonderfully gritty vocals.
Stay With Me ups the tempo and has a powerful, top drawer chorus (the guitar riff underpinning the build up sends shivers).
Feels Like Fire is a great driving song – perfectly build for the long drives on the freeway! I Just Might grows from a chugging guitar and vocals intro as the band creeps in. I love the way the lyrics mirror the playing – as Ryan sings that he doesn’t want to lose control, the mood shifts up a gear.
Tired of Giving Up feels strangely uplifting, even with it’s downbeat lyrics. Album closer Let Go is short, sharp and to the point, not overstaying it’s welcome. Just as it hits you, the song is over.
This is probably the most focussed Ryan Adams album for a long time, and all the better for it.
In 1986, Bob Dylan and Tom Petty formed a new supergroup with members of Fleetwood Mac, Dire Straits and The Waterboys. Bruce Springsteen (and various members of the E Street band) took time out from their Tunnel of Love tour to guest on the album. The album was called Lost in the Dream and went on to be one of the critics favourites, and regularly turns up in “best of the 80s” lists.
Of course, this didn’t really happen. Lost in the Dream is the latest album from The War on Drugs, but it really does sound like the album was born in that wonderful, experimental era of the early to mid 1980s.
I’ve not heard any of the bands earlier music, but I was intrigued enough by the lead single Red Eyes to seek the album out on Spotify, and then fell in love and bought the CD. A lot of artists are not happy with the streaming income in the new era, but for me, I buy more new music (from new to me artists) now I can investigate before pulling out my credit card. It’s not like there are many physical music stores to seek out new music, so streaming services are a good way to dip into albums before buying. Anyway, apologies, I’m going a bit off piste here.
The album opens with the nearly 9 minutes long Under the Pressure. The album opener sets the scene for the whole album – with a real Whole of the Moon vibe, and a great middle section, as the track breaks down and synths and layered guitars battle towards the songs conclusion.
Suffering would not have sounded out-of-place on Ryan Adams excellent Love is Hell album. Some lovely bar-room piano underpins the guitar towards the end of this song. Lost in the Dream sounds amazing – real attention has been paid to the production – with plenty of space for instruments to jump to the fore and grab your attention.
An Ocean In Between The Waves is driven by a nagging bass and drum pattern that picks up and becomes one of those great driving down the highway songs. This is one of my favourite tracks on the album.
“I’m at the darkened hillside And there’s a haze right between the trees And I can barely see you You’re like an ocean in between the waves”
Disappearing reminds me a little of Fleetwood Mac – it’s got the feel of one of those hypnotising, mid-paced songs that the Mac do so well. Harmonica is added to the pallet, and some of the best guitar sounds of the album are on display on this beautiful, mesmeric track.
Eyes To The Wind has shades of Dylan in the vocals and a lovely, subtle country feel towards the end of the song.
Lost In The Dream is pure Americana – snatches of harmonica and echo-laden guitar.
The album finishes with the epic In Reverse. The crash of waves and the lonely sounds of a distant coastline usher in a slow-burning track of love and loss. The guitar soundscapes drift in and out, like consciousness, as the mix fades to reveal the waves lapping against the shore.
“I’ll be here or I’ll fade away Never cared about moving, Never cared about now”
A great end to a wonderful album. I guess it’s time I investigated the earlier albums by The War on Drugs now.
Bruce Springsteen’s 18th studio album is a mixture of covers, new songs and re-workings of older material, but don’t come to this album thinking it’s a thrown together collection.
High Hopes is an album that stands up as a complete, cohesive release and is one of the finest Springsteen albums of recent years.
Album opener High Hopes builds from a 1950s referencing (and I Want Candy like) scratchy rockabilly guitar riff, and is a high energy opener that sets the scene for the majority of the album.
Harry’s Place is a track originally recorded during The Rising sessions. The vocal effects and the distorted sax remind me a little (ok, a LOT) of the Sopranos theme by Alabama 3 (probably no coincidence as the track references seedy characters meeting up in Harry’s Place).
“You don’t fuck with Harry’s money, you don’t fuck Harry’s girls, these are the rules, this is the world”
Some wonderful guitar work at the end of the song (I’ve not seen the liner notes yet, but I presume from Tom Morello).
American Skin (41 Shots) appears for the first time in studio form. Heavily processed synths and percussion underpin one of the two seven minute plus tracks on the album. A moving song, thats grown over the many years it has been performed live (the song was written in 2000). A definite album highlight, and one of the best Springsteen songs of any era.
“Is it a gun, is it a knife – Is it a wallet, this is your life”
Just Like Fire Would is a song written by Chris Bailey of Australian new wave band The Saints – of (I’m) Stranded fame. I love how 70s punk bands used paragraphs. (Get a) Grip (on Yourself) etc. But I digress!
Springsteen’s vocal power has lost none of it’s bite, and the shared vocals with Steve Van Zandt recall the Darkness on the Edge of Town / The River era. There are hints of The Beatles in the horn arrangement midway through the song and a Byrds like guitar sound features throughout.
Down In The Hole opens with industrial sounding percussion and mournful banjo that brings to mind a long lost 19th Century America. The drums reference I’m on Fire, one of my favourite Springsteen songs. Down In The Hole is simply a beautiful, emotive piece, with multiple layers and a wonderful, evolving production.
I love the production twist early on in the song, it’s as if the song moves from the past to the present. This is shaping up to be my favourite song on the album.
Heaven’s Wall fully utilises the power of the current, expanded touring E Street Band. I look forward to hearing this song live (come back to the UK soon please Bruce).
The production really is top drawer on this album – a previously hidden in the mix bassline sneaks to the fore 3/4 of the way through this song, along with some powerful guitar and percussion workouts.
Frankie Fell In Love is a piece of Americana that zips by in just over two minutes 46 seconds. Just as it hits home, it’s gone and you are listening to the Gaelic flavoured This Is Your Sword.
Hunter Of Invisible Game is a rare down-tempo track on High Hopes. An addictive riff, alternating between strings and guitar, underpins this slow paced but nonetheless uplifting track. Percussion and a rustic sounding acoustic guitar give way to a rich arrangement as the song progresses.
“Your skin touches mine, what else to explain, I am the hunter of invisible game.”
The Ghost of Tom Joad will be familiar to long-term Springsteen fans, but this 2013 take sends the song somewhere else. Gone is the sparse instrumentation of the 1995 original, and the full band and co-vocalist Tom Morello make this into a companion piece to Neil Young’s Like a Hurricane.
The Wall is a tribute to the memories of those who never returned from Vietnam. A lightness of touch in the performance, with respectful, restrained playing, makes this one of the most moving songs in Springsteen’s canon.
“On the ground, dog-tags and wreaths of flowers With the ribbons red as the blood”
I dare you to not feel choked up on your first listen to The Wall, especially when the trumpet fades out during the songs final refrain. That Springsteen is releasing songs of this quality 18 albums down the line is remarkable.
The Suicide song Dream Baby Dream is a fitting album closer. Looped percussion and dark textures underpin the mantra like track that lifts you after the raw emotion of the preceding song.
“Come on, we’ve gotta keep the fire burning.”
High Hopes does not trade on cheap nostalgia, but proves, just like David Bowie did last year, that age is not a barrier to making truly great music. This is an album that would have been rightly lauded if it had been released by The Boss in the late 1970s.
I’m only seven days into 2014 and I’ve already heard a contender for album of the year.
High Hopes Harry’s Place American Skin (41 Shots) Just Like Fire Would Down In The Hole Heaven’s Wall Frankie Fell In Love This Is Your Sword Hunter Of Invisible Game The Ghost of Tom Joad The Wall Dream Baby Dream