"Heartbreaker - loved it; Gold - loved it; Demolition - had its moments; Rock-N-Roll - OK, the guy isn't perfect; Love is Hell - REALLY loved it; Cold Roses - good stuff."

I'm quoting an earlier reviewer, and it's eerie how those quick-capsule reviews mirror my own opinion of Adams' output. But I disagree with those who compare his singing to a dog's howl, or blame country music itself. Traditional country is deceptively difficult to sing, and Ryan Adams just can't do it convincingly. He's trying to bear down on notes like George Jones and misses the mark by a mile. While I wouldn't go so far to liken his voice to dog noises, it is surprisingly devoid of emotional weight. I say "surprisingly", because Love Is Hell showcased some fantastic, emotive vocalizing. This one just sounds like he's phoning it in, as if he hasn't truly lived what he's singing about... which breaks the first rule of classic country. Ryan, stick with the "alt-" prefix stuff... you're way out of your league here.

First of all, I would go three and a half stars on this one but Amazon only allows whole numbers. I'm giving Ryan Adams the benefit of the doubt and rounding up.

This is by far the most country album he's put out since leaving Whiskeytown. Now, I'm not the biggest fan of country music but this doesn't sound like any other country music out there. What I can't stand is the country-pop-flagwaving-prothisprothat kind of crap out there now. I like real country. Real country is Johnny Cash, Merle Haggard, Hank Williams, etc. I guess it could be called "old" country. That's this album sounds like. Ryan's country stuff has been labeled "Alt Country." I'm not sure what the heck "Alt Country" is but if this is it then it sounds like REAL country. If you're a Rock fan you probably won't like this album. If you're a country-pop fan you might like this album. If you're a real Ryan Adams fan you'll probably like this album. If you're fan of good old fashioned country you'll definately like this album. Tracks 1, 4, 9, & 10 are probably the standouts on this album. It's not a must have but if you're in the mood, it delivers.

I love Ryan Adams' music. I got hooked on Rock & Roll and have bought everything he's done (with the exception of his whiskeytown stuff). At first I turned my nose up to his more country albums but after a hiatus I listened to them again and enjoyed them immensley; however, this album was just too country for me. I'd like to be able to say it's just because of my dislike for country music in general but a friend of mine who does like country music and also loves Ryan's music did not care for it either. Just my opinion, don't be upset.

Heartbreaker - loved it; Gold - loved it; Demolition - had its moments; Rock-N-Roll - OK, the guy isn't perfect; Love is Hell - REALLY loved it; Cold Roses - good stuff.

And that brings me to Jacksonville City Nights, which I would give a **1/2. Those who gave it 4 or 5 stars are apparently not bothered by Adams' strained and overwrought vocals on a number of tracks. Adams' voice, which can be among the best (think "I See Monsters" on Love is Hell), at times morphs into something that would make a dog howl.

In his past work, Adams had a knack for scaling back his voice just when he was reaching his vocal limit. Not here. Halfway through "Trains", Adams' loud and high-pitched vocals make me cringe, ruining what otherwise is a good song. Same goes for "The Hardest Part" and "The End." Adams' voice on "Peaceful Valley" is dreadful throughout. And then there are the collection of sparse songs ("Silver Bullets", "September" and "PA") that are agreeable I guess but didn't leave much of an impression with me.

Still, there are some strong songs here. "Withering Heights" ranks up there with his best, and both "A Kiss Before I Go" and "My Heart is Broken" show Adams at his country best. Songs that grew on me were "Games", "A Hard Way to Fall" and "Dear John." The latter seems to get better the more I listen to it.

Adams has such an incredible and malleable voice that he does not need to force things. While I hope he continues to try out new styles in the future, I am also hoping he sticks to vocals that better suit his considerable talent.

I like all types of music from symphony to metal. I first heard of Ryan Adams while on vacation in Hawaii in 2006. A friend played two of his songs from this album and I was hooked on his voice. I still don't know how long Adams has been around or when he cut this album, I only know that I loved it from the beginning. It was different and his music and lyrics were pleasant to listen to. A bit hard for me to explain, but to me, it is not the current trend of "hard rock" type country music with all the fancy rifs and fast beats. I feel it goes back to the "old school" type beat of country music but has up to date lyrics and the music has its own style. Anyway, I knew I had to get the CD when i got home. This was back in October and I am still listening to it almost daily! I am now a Ryan Adams fan. There are 4 tunes that I absolutely love, some are okay and there are a couple I don't care for, but all in all, I am glad I purchased this CD and not just a couple of songs.

From a long time fan's perspective, this album (along with "Cold Roses," also from 2005) is one of his best works. If you're not familiar with his work, this record has more of a gritty, authentic country feel to it than some of his other more pop, punk, rock or folk-influenced albums. We all know how prolific Adams is, and I'd be inclined to agree that not every single song is quite up to the level of the best ones; and had its best tracks been combined with the best tracks from "Cold Roses" we'd have the album of the decade! But I appreciate Ryan Adams' artistic vision, I think he is a brilliant songwriter and I'm glad he does exactly what he wants, when he wants! He's not making these records to please fans and get great reviews from "Spin" or whatever. When I look back at a lot of my favorite artists I can see that independence as a common thread... anyway, this is great music. If you are afraid of country music, don't worry, this isn't like the pop crap out there on the charts. It brings back memories of listening to Kenny Rogers, Dolly Parton, George Strait, Willie Nelson, Waylon Jennings, Emmylou Harris with my mom when I was a child. Back when country music wasn't cheesy and had feeling to it that wasn't contrived. I guess that's more or less what "alt country" means to me these days... good country! So, if you aren't into country, I promise you there IS good stuff out there. But it would be selling this album short to just stick it with that categorization, because at the end of the day, it's just rockin' music that you'll want to play with the windows down. I know that the Cardinals' lineup has changed a few times, but they are a great band, the lineup I saw last year, which I think minus Cindy Cashdollar was the same as played on the album, was really in sync with each other. They came out with a simple stage set and really rocked some vintage instruments. I love this incarnation of Ryan Adams, as much as the Dead-inspired "Cold Roses" sets (and there is plenty of overlap.) The first few songs are, in my opinion the best: "A Kiss Before I Go," which I think was actually an older tune resurrected, "The End," and "The Hardest Part" are my favorites. Another classic is "My Heart is Broken." Those four are some of my all time favorite Adams tunes and make the album worth it right there. This record has a magic to it... it embodies the mysterious, mischievous, part new york, part north carolina punk country spirit that is Ryan Adams. I can't wait to see what he comes up with next!

Ryan Adams once again proves that he is a very talented songwriter with great versatility. He is an artist, a true artist. It seems with every release we get to know a new side of this man. If you look at his enitre catalog, the only constant is that he can write great songs and deliver them in a way that makes you believe whatever he is saying. Jacksonville City NIghts is a great record from start to finish. Upon first listen, I was kind of unsure how I felt about it. But after a few more listens I realised that it was, in fact a great record. The opening track "a kiss before I go" is a very catchy song that will have you hitting the repeat button, with its catchy hook. Many of the songs on this album are just some of his best yet. The song that I find the most brilliant is "The End." Just the way he and The Cardinals deliver this one is just so heart felt and enjoyable. Other standout tracks are:

September
The Hardest Part
Peaceful Valley
Hard way to Fall
My Heart is Broken

This album is a must for any Ryan Adams fan.

That is a true statement, because in all honesty if he took the few stellar songs off of all 3 releases, (Roses, Nights,29), he may be in the running for greatest artist of our generation. Instead he throws a few full lengths at us in one year, which, to any adams fan, is a blessing, but to people just getting into him, its a curse. For these people, i would stay away from all 3 of these right away, and get more of a base set with heartbreaker, and gold. But back to this one, Its twangy, its chilly, its beautiful, its 5 Stars in my book. Really like Peaceful Valley, Withering Heights, and Silver Bullets. Great Album with little bit of filler, but not enough to garner any rating but a 5.

Every song is beautiful.
The band is brilliant.
It is so good, and so sweet and so sad, you will continue to replay this album, and marvel in Adam's ability to put together an amazing group of musicians, write sometimes horrifying lyrics, and create an album that is wholly remarkable. And that voice!
So far the better of the two albums done with the Cardinals, it is well rounded in its ability to keep your mind pumping (The Hardest Part, Trains) and your heart aching (Pa, Dear John, Games, September). And the sweet somewhere-inbetween songs are all excellent, notably My Heart is Broken, Silver Bullets and Peaceful Valley.
Definately brilliant.

If you go in for Gillian Welch albums with their stripped down production, gritty acoustics, and bewildering lonesomeness harkening back to an historic and mythic America you will love this album. It smells like gasoline, feels like gingham, and tastes like whisky. Sit back in your saddle or barstool or tractor and enjoy. Also, Adams voice is blazing into a new glory. His voice is always expressive, but I think it has finally ripened into full maturity. Sorry for the thoroughly good review, but I really am enjoying it so much. The only downside is that I am apt to listen to it too much and wear out the magic.

I used to be a critic of Adams for releasing so many cd's. Then he played my hometown of Knoxville... for 4 hours... til he got kicked off stage by the theater managers.
It was then that I understood why he sang 'everybody wants to go forever, I just want to burn out hard and bright'. He doesn't care what some jaded music critic is scribbling up about him in a dusty loft apartment somewhere, this is his life.
Yeah, this cd's not that great nor that accessible, but at least he put it out. It's a great listen. The lyrics contain some great imagery of heartache in the dirty south, much like Merle Haggard. It's twangy, rich country. The kind that makes you want to butter up some cornbread with a shot of whiskey.
The big, open-room atmosphere of the recording makes this cd perfect for putting on loop and painting to.
I just think we should all stop creating reasons to not like music. If you don't like a song, hit the Skip> button, don't rail on someone for 'releasing too many songs'. Yeah, absense makes the heart grow fonder, but should Ryan be like Tool and release a cd every 7 years? I'd be heartbroken.

For me to rate this album 5 stars is saying something because I'm not a huge country fan. Like many other reviewers, it took a few listens for this album to grow on me, but at this point it gets a regular rotation in my playlist.

It's funny to read other reviews that bash his prolific nature with comments such as "rather than putting out 3 good albums, why not put out 1 amazing album?" That's a fair question I suppose, but as a huge fan of Ryan Adams I'll take anything he's willing to give us. Besides, in today's era musicians are too sheltered and afraid to make mistakes. Everything is so overproduced these days. Look back to the early years of Elton John - he put out 4 amazing albums that are some of the best rock-n-roll has ever seen, and he did it in the span of two years! Ryan is a throwback artist, worthy of comparison to the all-time greats. Is it just me, or can anyone else picture him on stage (blending in just fine, not missing a beat) with The Band?

As for the heavy influence of Country on this album, I think the reason he's taken this route is that he's simply telling quirky stories with each song that don't necessarily rely on repetitive choruses. What better medium to do that than in a country song with simple cords and pedal steel wailing in the background?

One last comment - for those purists out there who might complain his voice isn't "clean" enough, I think you're right. His voice is rough around the edges and crackles in and out of tune on occassion, but who cares? He still comes across as being honest and heartfelt, and to me that's his most endearing quality.

Rock on.

ebhp

When I first heard this album, I didn't like it all that much. I had the same opinions as many of the negative reviewers here. However, after listening to the album a number of times (was in my carosel and I was lazy), it grew on me big time. I like it better than Cold Roses now. It is very different from Heartbreaker and doesn't have the super songs, but as a whole album, I actually like it better. I am sure I will face a barage of messages slamming me for saying that, but the album really flows and connects. In an age where the album is being hung out to dry, I appreciate a coherent collection of songs. Plus, if you like the lonesome sound of country, this album is for you. The only reason I gave it a 4 out of 5 was the that the song with Nora Jones was a little off with regard to the harmony parts.

After this latest half-assed attempt by Ryan Adams, at times brilliant and other times atrociously bad, he may very well be named the Joyce Carol Oates of country alternative. Mr. Adams, let's face it, is a polluter, an extremely talented artist who is miring his most masterful accomplishments in tracks that are but creative waste. There is something to be said for an artist who knows when to discriminate and keeps his throw-away tracks locked in a trunk somewhere to be released on a b-side box set once he's dead and gone. Not so with Mr. Adams, who seems to be lacking this discriminatory mechanism in his brain. Like the gratuitously unpleasant "Blossom" from his last 2-disc release (which was, what, a few weeks ago?), this 14-track CD is peppered with songs that go beyond mediocre into a realm closer to laziness. All the songwriting talent that was required for "Don't Fail Me Now" was coming up with the cliché title and knowing how to copy and paste it 20 times; and "September" is almost a flip of the bird to anyone who's ever spent months trying to write the perfect sad song. When albums like this come out, I'm thankful for online programs like iTunes that allow you to download songs individually. Because, frankly, I think both Mr. Adams and his fans would be better served if gems like "A Kiss Before I Go" weren't followed by the uninspired filler that is "Hard Way to Fall" and the like ...

When I first got this albulm, I didn't like it at all. It's definitely more old style country than Ryan's old stuff. But after listening to it more, I could see the genius in it. Same amazing lyrics and vocals, and now I can't get enough! Give me more classic country Ryan!!!

Many of us have been waiting for years to get a good, solid country album from Ryan Adams. Now that it is here, nothing abotu it disappoints. From the opening strains of "A Kiss Before I Go" to the closing "Don't Fail Me Now" Adams both begs to be compared to the legends and defies categorization as traditional. Like the best country artists he finds a sound firmly rooted in the past, but uniquely his own. This is the perfect autumn album, full of crisp, smoldering songs and sumptious vocals, augmented by perfect instrumentals--a sad, delicate reminder of what country at its best can be.

I can still recall the first time I saw Ryan Adams. This was way back in the David Ryan Adams days of Whiskeytown. The threadbare blue jean jacket, tattered cowboy boots, awkward specs, occasional mutton chops, bracelets, about 20 extra pounds, and of course, the unwavering crestfallen disposition. In the seven or so years since, Ryan has been through enough image overhauls to compete with a seventies-era Bowie. There was the Dylan phase, then the Gap ads, next was the highly collaborative yet oh-so-wandering era, then the NYC garage rocker, and of course, the desperate, lovesick broken-wristed fool turned complete wacko. 2005 alone has already seen a couple different Ryans. As prolific as ever, his second release of the year, Jacksonville City Nights is a brilliant companion piece to his hippie friendly double album classic, Cold Roses.
Now bearded and fronting the best band of his career, Adams has at last released the full-on country album his fans have been waiting for; and we're not talking Kenny Chesney or Alan Jackson. Jacksonville City Nights, much like David Berman's Bright Flight back in 2001, summons the seemingly forgotten ghosts of a pre-pop Nashville. You know, back when Nashville was Nashville. After falling off stage and breaking his wrist, Ryan was forced to finally lay low for a period of time. Eventually Adams came to, and with the assistance of NYC guitar-guru JP Bowerstock, Ryan "relearned" how to play the guitar. In due time, (with film crew and an abundance of studio time on his side) Adams was itching to record again. He quickly gathered a new band, wrote down a few song titles, drank his share of wine and promptly began working again.
Described as a "punk approach to a county album," Adams and his Cardinals recorded the singer-songwriters' seventh (properly released) solo album almost by accident. Unlike the bands previously mentioned, long-labored masterpiece Cold Roses, Jacksonville thrives on its spontaneous nature. Recorded prior to Roses, and (in fact) before they had even realized that they were an "official" band, the Jacksonville sessions not only helped Ryan get his groove back, but also led him back to his alt-country roots, albeit, this time with an assemblage of musicians proficient enough to keep up with his brilliantly wavering spirit.
With a running time of only forty-six minutes (the shortest of his career), Jacksonville is comprised of fourteen catchy, lean country tunes; none of which lag behind the bunch. While the lyrics and arrangements never dig as deep as Cold Roses, the raw impact of the recordings are just as potent as anything in Adams' catalog; a genuine paradigm of steadfast songwriting aptitude. Much of the album, including "A Kiss Before I Go," "The End," "The Hardest Part," "Peaceful Valley," "My Heart is Broken," and "Don't Fail Me Now" show Adams at his very best, often (and finally) living up to the Gram Parsons comparisons. Simply put, if you are a fan of folk, country, Bob Dylan, The Flying Burrito Brothers, The Rolling Stones, and/or Willie Nelson, there's a very good chance that Jacksonville will be the best album you hear all year.
On December 20th when Adams releases his third album of the year with the introspective 29, he will finally be an adult; however, it's Jacksonville that acts as proof of such. Only an artist with vision and concrete artistic confidence gained over time can quickly record an album as unfaltering as Jacksonville City Nights. If Cold Roses is an example of Ryan's broad musical mastery, Jacksonville is his display of natural talent.

I think Ryan Adams is incredibly talented. Don't get me wrong here. But, I'm waiting for more originality. He is a somewhat of a prolific copycat to my ears.
If he would take a deep breath and sit down to write some songs the way he writes them but, indulge himself a little in the area of non-outside influence. Then maybe get some un-cliche' production behind him. He just might paint a masterpiece. He is bordering on masterbatory irrelevance. I find it a little bit overzealous. But, I give it 5 stars because he is quite good at his craft. Though not original. It is the thing I enjoyed about Whiskeytown's' Strangers Almanac. He kind of had an effortlessness about his style in that band. But, forget that album for awhile. This is his show.

Has it been a month already?

Except for a few songs here and there which have been ok I thought he had fallen off a lot since the days of Strangers Almanac and Heartbreaker. Except for Magnolia Mountain and Let It Ride I thought Cold Roses was pretty lazy and couldn't wait to trade it back to the record store. A friend gave this to me as gift hoping I would at least give it a chance (having wrote Ryan off, I turned him down at first) and I have to say I love this disc.

These songs sink in and get to you. Hard Way To Fall is as good as anything Ryan has ever done. This may be too Country for some but I feel this is what he does best.

I'm finally getting into Ryan Adams' second album of 2005, following "Cold Roses" which I found overall disappointing as a too calculated attempt to go back to the success of 2001's "Gold" album.

"Jacksonville City Nights" (14 tracks, 46 min.) is a an outright country album, and thus going back to Ryan's earliest roots of Whiskeytown. The album is pretty much a mood piece, and if you're in the right mood, this sounds great. From the opener track "A Kiss Before I Go", the country tunes sounds great. There is an interesting duet with Norah Jones on "Dear John". Other outstanding tracks include the somber "September", a deviation of most of the tracks. The slide guitar features prominently on here, check out for example "Games".

Ryan Adams has presented so many (too many?) facets of his talents: see Ryan do alt-country on Heartbreaker! see him do retro-rock on Gold! see him do 80's rock on Rock'n'Roll! see him do alt-rock on Love is Hell! see him do 60's rock on Cold Roses! While it might be disorienting, Ryan does put out a lot of quality music, and he surely is one of the most prolific artists out there. And before you get settled in, he's got yet another 2005 release coming, set for late December, with what is rumored to be a pared-down (just acoustic guiter or piano) sound on "29". Meanwhile, "Jackson City Nights" is a fine album, if the country mood strikes you right, and certainly a much better album than "Cold Roses".

Country fans will find this album too rocky, and rock fans will find it too country. Maybe this is what alt.country should sound like - certainly many alt.country artists seem straight rock to me.

Of course, worrying about genre will get you nowhere unless the songs are good. And, apart from a couple of roughies, most of these eventually sink in. I suppose that is the difference between pop country and whatever this is - you need to work at it.

Ryan, always the rebel, has put is best songs last here. "Dont Fail Me Now" is classic Adams, and the bonus track "Always on my mind" has a big Elvis Presley" type production, which if anyone else was singing would probably sound cheesy (and would probably be a hit).

Don't be ashamed. Country music does not begin and end with the likes of that twit Kenny Chesney, or any idiot in a cowboy hat with a black Takamine guitar and tight black Wranglers playing the local county fair circuit. In fact, there are gems out there that make country a genre that can be enjoyed by crossover fans. Here's a guy who knows how to write music. It can take some time to get the vibe of his albums, and sometimes it's immediate, but he is the most underrated songwriter of this generation (along with Jay Farrar and Thom Yorke). Forget the crap Dave Matthews keeps recycling. RA writes better songs while puking in his toliet after drinking too much than DM could ever write. I think to most RA fans, JCN is a classic or will become one soon.

Everyone seemingly loves to hate Ryan Adams. Whether it's Ryan fanatics who are bemoaning a sub-par release or the usual naysayers who refuse to say anything nice about the guy, there is sure to be clamor surrounding any new RA album.

Cold Roses certainly marked a departure from the rock candy of Rock N'Roll and the haunting sparseness of Love is Hell 1 & 2 (this is not the forum for my argument that both of these albums were greatly underappreciated by critics). While CR certainly could have used a bit of editing, the gems--most notably "Magnolia Mountain" and "Friends"--validated the $15 purchase.

The problem with most critiques of RA's work is that the slightest of mediocrities are catapulted far and above the stand-alone, unequalled moments of brilliance that he has come to make seem almost easy. Every time I read a review of Jacksonville City Nights, the writer inevitably points to the failures of "Dear John," citing the fact that Ryan and Norah simply do not mesh. Others snicker at the awkward rhymes scattered throughout "The End."

Such nitpicking ultimately fails to recognize Ryan's, and particularly JCN's, strengths, namely his voice and his lyrics. While the rhyming in "The End" is at times non-traditional, the lyrics are undeniably heartfelt. Every time I hear Ryan utter the phrase "pentecostal pines," I am reminded of my own hometown, a small city in rural South Carolina. The images he concocts--of leaves burning like "effigies of my kin"--stand unparalleled among his contemporaries.

While the lyrics are strong, it is Ryan's voice that holds this spectacular album together. Having gained a bit of crackle and edge since the days of Gold or even Love is Hell, it bends and breaks in all the right spots. He adds just the right amount of fluctuation when singing "I could find her in a thunderstorm just by the way that the rain would fall" ("A Hard Way to Fall"). In the more emotional, piano-based tracks, such as "Silver Bullets" and "September," his familiar, bare singing voice resurfaces. Yes--that's right--the guy can actually sing quite well.

When critics pigeon-hole Ryan Adams as a too-prolific egomaniac, I simply chuckle. The guy has written song after song that could be stacked up against anything being written today. His hyperproductivity and occasional fits are, in fact, a part of the beast. If my future children make good grades and keep out of trouble, I will put up with the occasional "I want" or "I need." Similarly, if Ryan Adams continues to record songs that leave me in a state of speechless wonderment, then I will be more than willing to ride the wave.

Addendum: Whatever your opinion of the song "Peacefull Valley" may be, give the vocals a careful listen. His voice is...inescapable.

The Country Music Awards don't invite fellows like Ryan Adams to appear. His music is at once old-school hillbilly and sonic experiments. Delicate and abusive. Hard to easily catagorize in the Best Buy bins..

I recently had the priviledge of seeing Mr Ryan open for Willie Nelson at the Beacon Theatre in New York City. The two are more than labelmates, they are musical soul-mates in that "official" Nashville never embraced them....and niether gives two spits. They make their own way and make great music.

If you like your country poppy and contrived go get Big and Rich and steer far away from this gem

We are no longer even attempting to keep up with this guy. We had barely finished digesting his last few middling cds, `Demolition', then `Rock `n Roll' (spelled backwards), then `Love Is Hell' (Parts I and II), when he released `Stone Roses', his first record with The Cardinals and, purportedly, chock-filled with Grateful Deadish, psychedelic jam and now, before we have even had a chance to listen to that one, he drops this new one, again with The Cardinals, with 14 more Adams-penned tunes, more "country" than anything he's ever done, including during his time with his former band, Whiskeytown, and, likely, more "country" than anything else you will hear on pop radio this year. And if that sentence has made your head spin, you may get some sense as to how we feel about this artist. Adams has taken on so many different musical styles and personae in his still young career that in some circles his reputation is that of a fake, a poseur, a dilettante. But he is just so damn good at everything he does, we personally have a hard time finding fault. And, although we haven't heard every record of his (remember, we so far have missed his previous cd), `Jacksonville Nights' may be as focused and brilliant an album as he's done. Adams (and his writing collaborators) offers a bunch of country gems, dripping with the sweet sounds identified with the genre-the heart-tugging whine of strings and pedal steel, honky-tonk piano, and some of the most passionate and soul-drenched singing this side of George Jones. At times, Adams veers off into some strange falsetto, straining to hit certain notes, oft times failing only to succeed in nailing the emotional chord. His harmony vocal with Norah Jones in `Dear John' is otherworldly, so it took a few listens before we appreciated what a sad and beautiful song it was. Like the other songs on `Jacksonville City Nights', the lyrics roam the turf between truth and cliché. But the heartfelt performances of Ryan Adams and the Cardinals leave little doubt as to their credibility.

Ryan Adams returns with a new disc, his second this year, and his second with his new band the Cardinals. Infused with country, filled with torchy twang songs about drinking, heartbreak, things you can rely on in a Ryan Adams record. It really grew on me quickly and got under my skin. Some highlights include, "The Hardest Part", "A Kiss Before I Go", "Trains", "PA", "My Heart Is Broken", "Dear John" (a duet with Norah Jones), and more.

If Adams's third album this year is as good as the first two, he's walking away with MVP honors.

Cold Roses saw Adams and the Cardinals assaying the folk rock of the American Beauty-era Grateful Dead. This album, recorded at the same time, falls more aquarely into the country-rock vein, and Whiskeytown fans will probably hear this as the Ryan Adams album they've been waiting for. After his hand injury took him off the map a year, Adams has been a different artist-- less erratic, more interested in subverting his ego to a band, and more willing to revisit and re-interpret his older songs live (as opposed to rendering them rote). The Cardinals are the ideal band for this new Ryan Adams, and together they've made their second great album in a row. Jon Graboff's pedal steel gives the album much of its twangy country feel, and Catherine Popper on bass is the modern man's rock crush. J.P. Bowerstock plays economical, lilting, ringing lines on guitar that always serve the song. Adams remains one of the most prolific and heartfelt songwriters of his generation.

Jacksonville City Nights has the instant feel of familiarity that often accompanies great records. It will sound like an old friend half way into "A Kiss Before I Go."

I've been a fan of Ryan since the Whiskeytown days, and I've bought every pressed CD he's put out, and even some demo material I've found over the years. I'm constantly amazed that even the songs that don't make his official releases are so good. He's gained the title of my favorite songwriter of all time, and I've been saying that about Bob Dylan for years and years (sorry, But the times....well, you know).

But I want to prepare Ryan Adams fans for this disc. I have to say that when I saw this in the music store and snatched it like a little kid off the shelf, I was expecting something very different. I've absolutely loved every one of his albums from the very first listen....until this one. In fact, I found myself skipping through the songs during my first listen, which I've never done before, and by the end of the disc, I was afraid I might be selling my first Adams release. It just didn't seem anywhere near as good as the rest. But thankfully, I had the sense to play it a few more times. It has grown on me, and I can now appreciate it for what it is....a simple approach to making an 'old school' country album. Yes, there is a bit of the kitch factor here, but for the most part it's Ryan playing in a themed toybox of his choosing, and it is overall very satisfying, particularly when you begin to learn the lyrics. At first listen, it just didn't seem like he had put as much work into them as he had for previous albums, but in fact, he's just not beating you over the head with warbly emotion, which he's admittedly overused in the past. The lyrics range from loose, fun and free-form to tight and complex, to explosive.

I haven't disliked an album so much in the first listen, and then learned to love it so much since "Tomorrow the Green Grass", which was the first Jayhawks album I ever bought. Now, that's one of my favorite albums. Will this turn out to be as important of an album to me personally? Time will tell. For now, it's certainly not my Favorite Adams Release (which would be either Rock and Roll or Heartbreaker, for different reasons), but it's a pretty darn good album. I wouldn't recommend this to anyone as an introduction to Ryan Adams' songwriting, because it isn't typical of his greater body of work, but for all you Adams fans out there, just buy it and give it some time. You'll be glad you did.

I didn't like this album the first time I listened to it but that is not a bad thing. Often I find that albums that I don't immediately love are growers and this is the case with this and most of Adams records, though some grow more than others.
The more I listen to it the more I enjoy it. Is it his best ever? Maybe not but it is pretty close to his best (in my opinion Faithless Street and Heartbreaker are his best, but its only my opinion!).
The album starts strongly with A Kiss Before I Go and The End both very very good songs. He doesn't quite keep this quality up throughout the album though (that's why only 4 stars) and personally songs like Peaceful Valley with the overwrought singing don't do it for me. The album has mostly good or better songs though and Silver Bullets and the rocking Trains also stand out.
Some critics moan about his insincerity of his writing. That he hasn't experienced what he is writing about. I am sure this is true but it doesn't make the songs bad. Is a good lyricist not supposed to write from the point of view of characters as well as personal experience? Did The Band know about "the night they drove ol' dixie down", mostly being from Canada and slightly young, of course not; did the Stones know much about Gold Coast Slave Ships, or Street Fighting Men, as young middle class Englishmen I doubt it, so give the guy a break. If you don't like his music fine don't buy it or listen to it before buying to check. I don't like Rock N Roll much so after hearing it at a friends several times I didn't buy it.
Adams seems to have p-ed of a lot of folks though and I expect this will get some unfairly bad reviews. The guy might be a pain in the butt but I don't know him, don't have to put up with him and never will. So I enjoy the music he writes and sings and don't give a toss about his personality. I hope everyone who has reviewed here has reviewed the songs not the writer but I fear this may not be the case. Personally I think this is what he is good at (thats not to say he can't better it) and I hope he stays with this sort of writing. Its not Whiskytown but then Adams isn't 21 anymore.

Classic country style, the critics love to hate it, but it is hard to hate loving it. Feels like there are no egos on this CD, just well written, loosely performed (which is good) songs. Feels like you are there watching them play this stuff live in a bar.

Ryan Adams has a lot on his mind.
Luckily he hasn't decided to keep his angst and emotions bottled up and instead lets it bleed out on album after album at a blistering pace. Not content with releasing a double album of work just a few months ago Ryan is back again with a heavily country influenced masterpiece that is even better than Cold Roses and is probably on par with Love is Hell (the combined version) as some of his best work yet. "A kiss before I go is hard" to go past as and outstanding opening track that begs repeated listening but you have to move on to get to "The end" with it's jawdropping lyrical deftness.
It's refrshing to hear that Ryan is willing to blaze his own trail and make the music he feels even if it is removed from what his fans and particularly the studio execs may expect from him.
If you want to ache and heal then let yourself be absorbed in the melencholy intensity of Jacksonville City Nights.

I have been a fan since, like many people, I was exposed to Ryan Adams through his video of "New York, New York." I've been hooked ever since, but seldom have I been as floored over his work as I've been over "Jacksonville City Nights."

There's no great way to review this CD. I recently handed it to a friend and told her, "I know you're not really into country music, but listen to this several times -- I know you'll think it's brilliant."

I liked "Cold Roses," but it came and went from my CD player rather quickly. "Jacksonville City Nights" simply hasn't left since I bought it. I love every track, from the rollicking "A Kiss Before I Go," to the devastation of "Dear John" (which I see in previous reviews that some people have issues with; but to me, the vocals are brilliant, deftly suggesting the unfathomable distance between two lovers who are no longer together... it's as if two different songs are being sung simultaneously, and it's heartwrenching and gorgeous).

I think there are only a handful of musical geniouses around today - and of those, few have a strong enough personality &/or relationship with their label to do exactly as they please, refusing to pander to the "industry" or to water-down/homogenize lyrics or music. Adams, thanfully, is one of those voices who demands to be heard. The best part of being a "fan" is that you can experience him in every incarnation. His output is prolific and experimental, and for a listener, the journey is intense, remarkable, rewarding, & fun.

"Jacksonville City Nights" is all about difficulty: in life, in love, in death. Adams has reached an artistic high here through his depiction of a reality that is "withering," but beautifully so.

Give me a break! This CD is nothing but a quickly pasted together collection of even quicker forgotten lame attempts at trying to write a Classic Country track. Ryan my mate, you had it once, but now you have lost it. Start writing GOOD stuff again and maybe REAL music lovers like myself will have something to praise...but Im wasting my time cause there are far too many 'wankers' out there who think you are the best thing since Johnny Cash and Gram Parsons. This is no 'Sweethearts of The Rodeo' and it will be forgotten - quickly.

Ryan Adams breaks my heart. His songs, especially his singing, touch me somewhere deep inside. I don't really know why. It's just like the lyrics in "A Kiss Before I Go," where he sings, "I can't explain what I don't know." Well, I can't explain what I don't know either. I am old enough to be his mother, I haven't hung out in bars for years, and excessive drinking is part of a very distant past. Yeah, I've had a broken heart, but not every time I paired up with someone. I'm not from the south either, so I don't really know that kind of life. Still, I feel like I know this world Ryan lives in. His lyrics make it painfully clear what it's like. This is the second cd he has put out with his band The Cardinals. Together they have crossed over to the other side. This is not alt-country, folks. This is pure country, the kind that Hank Williams and Johnny Cash made in the '50's. Brushed drums, pedal steel, upright bass, cello, piano, and violins weave in and out of the electric and acoustic guitars. The vocals are the primary focus on all the songs, especially on "Peaceful Valley," which he sings in a falsetto, straining to hit the high notes. There are a few recording flaws-there ALWAYS are a few in Mr. Adams' releases. Maybe that's why I like his cd's so much-he'd rather go with 95% of what he wanted the sound to be, than pro-tool the music until it strips all the life out of it. At any rate, I can't tell you my favorite song on this cd, because I pick a new one each time I listen to it. That, my friends, is the hallmark of a really great record. You are going to have to buy this if you want to hear it-Ryan Adams and The Cardinals are too country for rock radio, and not cookie-cutter enough for country radio. That's a shame, because this is the best country record in the last 5 years, maybe even the last ten years. Highly recommended!