I don't listen to a great deal of popular contemporary music. I first saw Ryan Adams on David Letterman a few nights ago, and my wife and I looked at him, then at each other, then laughed out loud. His goofy clothing, ruffled appearance, oversized glasses, and mournful attitude exuded cliche. But then he started singing.

About halfway through his song ("So Alive," as it turns out) I thought, "Wait a minute. This guy's good. He's really, really good." So I read a few Amazon.com reviews, hoping to find a good Ryan Adams "starter" CD. I didn't know the name of the song he sang on Letterman, but thought it might have come from his newest album, which this seemed to be. I ended up buying GOLD and LOVE IS HELL, Part II.

I love them both, and have Rock and Roll on order.

This album is much mellower than the rockin' GOLD. This album reminds me of The Smiths (who I also enjoy).

I look forward to buying more of his CD's.

Sometimes sad songs feel so right. They bring you down and bring you up. The melancholia probes your emotions like a taser, causing you to wince at the slightest lilt or change in tone. A single note can break your heart and one lonely word can bring you to tears. When you're in this disposition of augmented sensitivity, and your feelings have been broken and battered, I'm sure the thought that Ryan Adams brilliantly exposes often sticks out in your mind like a fluorescent billboard: "Love Is Hell". The songs on this incredible ep all attest to the pain and suffering that are often brought about by the debilitation of heartbreak. The gambit of crestfallen piano tinkles that begin My Blue Manhattan forebode the entrancing despair that later follows on the album. This opening number, to me, is the ideal song for drunkenly sobbing in an empty bar-room at 4 in the morning. It's tired, lonesome, despressed and exactly what you need. Following this inebriated wallowing is my favorite song on Love Is Hell, Please Do Not Let Me Go. I won't write much about it, because too many feelings overwhelm me when listening to it. It's just so sad and so beautiful, a song that makes you wonder how the hell a person can pinpoint seemingly inexplicable emotions in a breathtaking ballad of desolation. The third song, City Rain, City Lights, starts out in a more uplifting manner, but ends in an astounding crescendo of despair, "I am going to push them away, fall into the leaves of the winter trees, drowning slowly, lonely, my city rain." The next number, I See Monsters, calls Elliot Smith (r.i.p.) to mind with its eerie, paranoid folk aura. Conjuring the sheer terror of true love, this song is both startling and strangely enchanting. English Girls Approximately follows in the most positive and cheery manner of any of the previous songs. It's a bit long and rambling, but still a very solid tune. Thank You Louise brings the mood back down again in describing the sorrowful life of Mary Louise and the passing away of one of her children. Concluding the sadness of Love Is Hell is Hotel Chelsea Nights, one of the most brilliant and beautiful album codas I've heard in a long, long time. The anthemic chant "Strung out like some christmas lights, out there in the chelsea nights" will stay with you for months. In a word, this ep is absolutely stunning from start to finish. I especially recommend it for those who are down, but I'm sure that anyone can appreciate the heart and soul that Ryan and Adams put into this fantastic recording.

After what some would consider a disappointing release of full-length CD Rock 'n' Roll, Ryan Adams redeems himself with the Love is Hell EP's. In Love is Hell part 2, songs like "City Rain, City Streets" feature beautiful guitar work and gut-wrenching lyrics. The melancholy "Hotel Chelsea Nights" is another great one and could easily find its place among Adams' best.

For as prolific a songwriter, it's amazing that Adams is able to consistently produce good music. And this album is yet another example.

Those of you missing the consistency and coherence of Heartbreaker need look no further. Sure Ryan has moved beyond the bounds of alt-country, but here he embraces the honesty and grit of that genre whilst walking through quiet poppish rainy soundscapes. Hotel Chelsea Nights is one of those 'it' songs; it's immediately among his best songs and... worth the cost of the CD alone, but there's nary a clunker to be found. I even came around to the slightly whiny "I See Monsters"... this is Ryan at his best (since HB, anyway). Welcome back you jerk.

If the rumors are true, Ryan Adams had to release Love is Hell part 1 and 2 as EP's because his label thought they were basically not mainstream enough (whatever that means), so he created Rock N Roll. If that's true, I honestly feel like I won the Ryan Adams lottery. Short of being able to read the phone book and still make it interesting, I have yet to find any of his work without merit (Demolition being my favorite). Rock N Roll is certainly different, but it's an amazing piece of work and the best rock album of 2003. Taking a major step back to his more intimate, moody work (although by going backwards doesn't mean it's bad), the Love is Hell ep's are truly stunning work. Ryan has always shown his best side when it comes to mellow, introspective work (the best track on Rock N Roll is not a barn burner but rather the somber title track). Love is Hell pt. 2 continues where pt. 1 left off, and each track is simply perfect. I highly recommend you pick this up along with pt. 1 - you won't be disappointed.

This is a rare artist where you can enjoy the music without actually listening to the lyrics - just soak in the melodies, the near-orchestral chord changes and enjoy the moment. Or, have some coffee and listen hard to the message of each track. Either way, you won't be disappointed.

Without going nuts over this guy, I will say that Ryan Adams is the most important musician working today. Some critics would disagree, but that's because they have their heads too far up the as* of the White Stripes and OutKast at the moment. Nonetheless, time will no doubt prove my point. Ryan Adams is to the 21st century what Elton John and Bernie Taupin were to the 70's (except he's only one person so he gets even more credit for pulling it off). Thankfully prolific, heartfelt, engaging, and simply entertaining.

ebhp