Cold Roses is the first of three Ryan Adams releases this year on Lost Highway Records. September to hit this summer and 29 to hit this fall. The new release, a double CD, features Ryan's new band The Cardinals and was produced by Tom Schick. Ryan & The Cardinals recorded Cold Roses in two different sessions at Loho Studios. Ryan will be touring in the Spring, Summer and Fall. "Let It Ride" is the first single going to AAA in early April.

Sent reeling by the one-two punch Conor Oberst's Bright Eyes delivered with I'm Wide Awake, It's Morning and Digital Ash In A Digital Urn, Ryan Adams vowed to strike back in 2005 with three of his own releases. The first--a double album, no less--sees the attention-seeking former Whiskeytown singer casting off both the raucous guitars of 2003's Rock N Roll and the rainy-day ballads of the same year's Love Is Hell in favor of the more introspective moments and rustic textures of 2000's Heartbreaker. He's snuck in at least one epic with "Meadowlake Street" and one potential radio hit with the twangy "Let It Ride," while the rest of the set is mostly packed with bleary-eyed laments that feel all too mannered after spending the last few years revealing his naked pop ambition in full. No doubt Adams will make up for it with the next one. --Aidin Vaziri

Recommended Ryan Adams Discography

Heartbreaker	Gold	Love Is Hell
Whiskeytown, Pneumonia	Whiskeytown, Stranger's Almanac	Whiskeytown, Faithless Street

Here is the album that many fans have been hoping Ryan Adams would make since his much heralded emergence with Whiskeytown. Though Adams has been as eclectic (and erratic) as prolific over his solo career, this double-disc gem delineates the possibilities of alt-country in 2005 while transcending the limitations typically associated with the genre. The organic arrangements of his new band, the Cardinals, blend acoustic and electric strains, sparked by the interplay between J.P. Bowersock on guitar and Asleep at the Wheel alumna Cindy Cashdollar on pedal and lap steel. With the set-opening "Magnolia Mountain," Adams and band draw inspiration beyond the title from the era of Neil Young's "Sugar Mountain" and the Grateful Dead's "Sugar Magnolia," though much of what follows shares as much in spirit with Bright Eyes (or even the poppier side of Prince) as it does with retro country-rock. On "Mockingbird Street," Adams builds from the stripped-down intimacy of a heartbeat toward the majesty of an anthem. Except for the rock and roll swagger of "Beautiful Sorta," the material exposes an open-hearted vulnerability, emotions that range from the rapturously romantic ("Cherry Lane") to the tremulously tender ("Mockingbird") to the broodingly bittersweet ("Rosebud"). On the engagingly uptemo "Let It Ride," Adams confesses to "27 years of nothing but failure and promises that I couldn't keep." This release represents promise fulfilled. --Don McLeese