生于美国北卡罗莱纳州Jacksonville的Ryan Adams，Country音乐是他根深蒂固的音乐熏陶，而在少年时代他则深受Punk的冲击，可以说Country与Punk都是Ryan所具备的双重音乐性格。Ryan爱写歌，只要有支结他在手，他便能灵感如泉涌。早年Ryan曾在家乡组过Punk Rock乐团“The Patty Duke Syndrome”，但最终还是直到“Whiskeytown”这支另类乡谣乐队衍生，才找到了他的落脚点，成为美国独立音乐界Alt. Country/Americana运动不可多得的一员。
by Mark Deming
Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically as he follows his increasingly prolific muse.
Adams was born in Jacksonville, NC, in 1974. While country music was a major part of his familys musical diet when he was young (hes cited Loretta Lynn, George Jones, Merle Haggard, and Johnny Cash as particular favorites), in his early teens Adams developed a taste for punk rock and he began playing electric guitar. At 15, Adams started writing songs, and a year later he formed a band called the Patty Duke Syndrome; Adams once described PDS as an arty noise punk band, with Hüsker Dü frequently cited as a key influence and reference point. The Patty Duke Syndrome developed a following in Jacksonville, and when Adams was 19 the band relocated to the larger town of Raleigh, NC, in hopes of expanding its following. However, Adams became eager to do something more melodic that would give him a platform for his country and pop influences. In 1994, Adams left the Patty Duke Syndrome and formed Whiskeytown with guitarist Phil Wandscher and violinist Caitlin Cary. With bassist Steve Grothman and drummer Eric Skillet Gilmore completing the lineup, Whiskeytown (the name came from regional slang for getting drunk) released their first album, Faithless Street, on the local Mood Food label.
The album won reams of critical praise in the music press, and more than one writer suggested that Whiskeytown could do for the alt-country or No Depression scene what Nirvana had done for grunge. But by the time the band signed to a major label — the Geffen-distributed imprint Outpost Records — the band had undergone the first in a series of major personal shakeups; and in the summer of 1997, when Whiskeytowns Outpost debut, Strangers Almanac, was ready for release, Adams and Wandscher were the only official members of the band left. Cary soon returned, but Wandscher left shortly afterward, and Whiskeytown had a revolving-door lineup for much of the next two years, with the bands live shows become increasingly erratic, as solid performances were often followed by noisy, audience-baiting disasters. Consequently, as strong as Strangers Almanac was, Whiskeytown never fulfilled the commercial expectations created for them by others. In 1999, the band — which was down to Adams, Cary, and a handful of session musicians — recorded its third and final album, Pneumonia, but when Geffen was absorbed in a merger between PolyGram and Universal, Outpost was phased out, and the album was shelved; shortly afterward, Whiskeytown quietly called it quits.
Following Whiskeytowns collapse, Adams wasted no time launching a career apart from the band, and after a few solo acoustic tours, Adams went into a Nashville studio with songwriters Gillian Welch and David Rawlings and cut his first album under his own name, Heartbreaker, which was released by pioneering insurgent country label Bloodshot Records in 2000. The album received critical raves, respectable sales, and a high-profile endorsement from Elton John, and Adams was signed by Universals new Americana imprint, Lost Highway Records. Lost Highway gave Whiskeytowns Pneumonia a belated release in early 2001, and later that same year, they released his second solo set, Gold, which displayed less of a country influence in favor of classic pop and rock styles of the 1970s. In the wake of the September 11 terrorist attacks, the albums opening track, New York, New York, was embraced by radio as an anthem of resilience (though it actually concerned a busted romance), and Adams once again found himself touted as the next big thing.
Always a prolific songwriter, in a bit more than a year following Golds release, Adams had written and recorded enough material for four albums. Adams opted to whittle the 60 tunes down to a 13-song collection called Demolition, which was released in 2002 as he went into the studio to record his official follow-up to Gold. A year later, Adams concept album Rock N Roll was released alongside the double-EP collection Love Is Hell. Tours around the globe kept Adams busy into the next year as he maintained momentum writing songs and keeping his ever-changing presence in the music press. In May 2005, Adams released his first of three albums for Lost Highway, the melancholic double-disc Cold Roses. Jacksonville City Nights, a more classic-sounding honky tonk effort, followed in September, and 29 appeared in late December. Always prolific, in the interim period before his next album was released, Adams posted a large selection of tracks — including hip-hop ones — on his website, but fans were greeted with more straightforward material on 2007s Easy Tiger.