Ryan Adams, “Ashes & Fire” (Capitol)
Ryan Adams’ always-fascinating liner notes continue to impress with his latest release, “Ashes & Fire.” In addition to the lyrics to each song, Adams includes shout-outs to all of the album’s contributors.
On the ’70s-era AM-tribute “Kindness,” for example, Norah Jones contributes piano work — as she does throughout most of the album. And Jones also lends a backing vocal on the track, as does Adams’ celebrity wife, Mandy Moore.
We never thought we’d hear that — Triple A radio darling Jones and pop princess Moore backing up alt- country hero Adams. And that’s so much of his charm: While Adams is among the most prolific songwriters in the game, he’s also a master of the unexpected — and the band he pulled together for these sessions is as consistent as you’d expect with names such as Jones and Benmont Tench in the mix.
On the flip side of Adams’ prolific nature is the inconsistent nature of his songwriting. A loose count racks up at least 11 releases from him in the decade since “Gold,” and while he is still adored and revered, he’s also wildly unpredictable with his output.
With “Ashes & Fire,” Adams’ lyrics are as strong as they’ve been in the past five years — although he leans too hard on the sparse pop- folk ballad that has been his preference in recent years.
A couple of gems fill the end of the backloaded record, including the pensive closer “I Love You But I Don’t Know What To Say” and the memorably melodic “Lucky Now.”
But much of the Glyn Johns-produced record quietly falls into the same unmemorable territory. As Adams’ poetry works its magic, his acoustic guitar and Jones’ piano and Tench’s B3 Hammond cover ground that we’ve heard before.
Songs such as “Chains of Love” try to break out of the mold, but it’s clear that Adams has found a comfortable place, and he’s not planning on leaving it anytime soon. Ricardo Baca
Evanescence, “Evanescence” (Wind-Up)
Just how does Evanescence fit into the context of 2011? The group doesn’t, really.
Not with its dated, ’90s rock aesthetics. Or singer Amy Lee’s post-gothic tendencies. Or its albums’ overwrought, overdramatic production. Everything sounds about 10 to 15 years too late.
When “Fallen” hit shelves in 2003, even that breakthrough album sounded a little late — even though the hits “Bring Me to Life” and “My Immortal” made stars out of the group.
But the band has its vision, and even after the much-publicized departure of guitarist Ben Moody, they’ve stayed faithful to that original sound.
With the latest, eponymous third studio record, Lee’s vocals are still intoxicating and potent (“Erase This”), and the guitars still often sound like they were torn straight from a Korn album (“Never Go Back”). But the band is taking a slightly more rhythmic approach with its first single, “What You Want.”
And if you thought their earlier blends of rap-metal and pop balladry were strange, this slightly altered sound will take some getting used to. Ricardo Baca
