I, as I imagine most Ryan Adams fans, bought the Love is Hell e.p's seperately. I must say I was a bit surprised to see this in the stores yesterday (along with a bonus track!!!).
Well Lost Highway, what gives? Initially, you guys felt that this album wasn't worth releasing. Since then you've broken it in half and forced the fans to purchase each seperately and now you are releasing it as a whole and cohesive album (as it should of been in the first place) and trying to intice the fans to give you more of their hard earned money by placing an extra track on there... and this is what really kills me...Lost Highway has put a sticker on the CD that says, "...as the artist originally intended...". Are they serious??? If that is indeed how they truly feel then why the "Hell" wasn't it released this way to begin with?
Lost Highway should be ashamed of themselves.
Hey, this is a GREAT album and I would recommend it to anyone, but I still feel cheated. I shouldn't have to buy this album three times!!

I am sad to say that I LOVE this album. The reason why is because I cannot find any other Ryan Adams CDs that are even comparable to this masterpiece. I have spent little over a year listening and absorbing so much from these recordings.

I do find the CD to be somewhat depressing but there is an overwhelming uplifting aspect to the entire CD. For instance in `Shadowlands,' the beginning of the song really does sound like Adam is in the abyss crowded amongst tragedy and sorrow. Then, slowly his voice begins to shed the reverb, it sounds as though Adams is lifted and startlingly enough right here with us, which the music supports as well. He transcends his suffering into something so much greater and ultimately enjoyable for a listener.

I could go on about each one of his songs in such a way that is inescapable once you sit down and listen. Of course it still has all the enjoyable aspects of just pleasant music that don't require a listener to analyze every song. But if a listener would just take on the task of trying to figure out what the hell happened to Adams before/while writing this record then this record would become so much more than just a compilation of well crafted songs.

I mentioned this before, this album is completely different from his others and Adam's fans generally don't understand it. I find that extremely disappointing since his most skilfully crafted piece of work is but more than a cold murmur to them. There are some similarities to 29 but it doesn't feel as natural (I don't mean to suggest either improvised or planned) and sincere as `Love is Hell.'

I suggest if you are unfamiliar with it, get this record, start it on track six, once the CD is over start from track 1 and just let it unfold for you. A timeless masterpiece and personal favourite trust me.

-Friend

If you're a fan of Heartbreaker and Gold, this may not be for you. This album is not like his alt. country predecesors. Instead, Love is Hell is an album with lush electric arrangements and unforgettable melodies. Ryan Adams is the master of making memorable melodies. This album is where he peaked. The opener, Political Scientist is (I hate saying this) like a lost Jeff Buckley song. Much of the album hints at Buckleyesque and Beatlesque type arrangements. At times Adams is quiet, other times he screaming...a very emotional album from start to finish. The only reason I couldn't give it 5 stars is because the album gets too long. There are 16 songs on here with a tune that's also on Rock n Roll...it fits well on this collection, but did you really need to make the album one more song longer? Other than that, I love this album.

Lately, one doesn't know what to expect from the increasingly unpredictable rock n'roll problem child Ryan Adams. Luckily, his wounded heart and fractured psyche have produced one fine grab-bag of songs on LOVE IS HELL. The mood here is often cloudy and desolate, yet emotionally exuberant at times. "Political Scientist" comes on like a late night fog, while "This House Is Not For Sale" sounds like the best of his yearning, booze-lacquered early solo work. Then there's the naked, vulnerable retreading of Oasis' "Wonderwall" with it's fingerpicked delicacy and intimate caterwauling. Adams is not one to be bashful with channeling his inspirations as he unabashedly visits his Smiths influence with the dynamic "Does Anybody Want To Take Me Home?" and the enthralling title track "Love Is Hell." For all his misguided behavior, you can't deny the guy his songwriting cred as he seems capable of spitting out quality songs in his sleep. "City Rain, City Streets" and the jazzy, smokey "Hotel Chelsea Nights" serve as reminders to his considerable talent and penchant for heart on the sleeve expressionism. For all the heartache and self-loathing, this collection sure makes for a heavenly listen.

One of the most solid songwriters/lyrists on the current music scene. These are songs that grab you in the gut and compel you to listen. This album features what had been two parts now showcasing Adams at his acostic best since Heartbreaker. His voice is emotive, delicate and strained as he spouts his brutal poetry to the sounds of his guitar.

'My Blue Manhatten' sounds like an old standard made new by it's simple production.

Adams cover of the Oasis standard 'Wonderwall' makes that song all it was meant to be - and this from someone that loved the original.

My favorite has continued to be 'I See Monsters'. The lyrics are stunning:
Baby, I know you cannot hear me now
`Cause you're fast asleep
But I love you now
Colors inside your head go spinning around
Like a ferris wheel
Exploding and falling to the ground
Oh, people are screaming, people are screaming
My baby, she's dreaming
Oh, people are shouting, people are freaking
I'm staring at the ceiling
Waiting for the feeling
Oh, oh but when she comes
I that know she's the one
Makes me want it harder
Makes me want to be a little stronger
Still I see monsters
Still I see monsters

The man is brilliant.