Bryan Adams Goes Unplugged In NY

MTV Unplugged by Bryan Adams

Following in the trend of other artists who revitalized flagging songs with an unplugged session, Bryan Adams released a very acoustic unplugged set in 1997 that may surprise even the most rabid of the Canadian pop star's detractors. Adams's effort is augmented by a Julliard orchestra, Bob Clearmountain's mixing and Pat Leonard's co-production, Adams has not sounded this fresh and sincere for years.

The album was recorded live in New York's Hammerstein Ballroom. Clearmountain and Leonard both bring a pedigree to the effort that by itself warrants attention. Listing their credits would take longer than most reviews in their entirety, so simply accept the idea that this is one of the best produced and mixed albums of the year.

Familiar Songs

There are thirteen cuts in all, including some songs that may be unfamiliar to casual listeners. Almost all have radically different treatments than the studio version. They may not be as radical as Clapton reworking Layla, but they are different, interesting, and in many cases, pleasant. Summer of 69, Cuts Like A Knife and When You Love Someone are all invigorated by their treatments here.

Summer of 69 is especially commendable with Adams' voice carrying the melody over a simple arpeggiated acoustic progression that most beginners could quickly learn to play. None of the glitz or 1980s pop star schlock is present in this stripped down version of Adams' love song. That's right - the song is about summer love, not playing music in the year 1969. Adams may have been ten at the time, but 1975 does not have quite the same ring. But taken in the context in which the song is written, Summer of 69 is a wickedly fun yet wistful and nostalgic trip.

Even rockers such as 18 'Til I Die enjoy new life in this format.

Why This Album Is Such A Departure

Adams has proven himself as a pop balladeer, but seems to yearn for a bad boy rock star image. A pop star perfectly designed for lite rock radio and VH1, Adams is now in his early 40s and seems intent on proving that his string of mainstream movie themes (from Robin Hood: Prince of Thieves, Don Juan DeMarco and The Three Musketeers) was a departure from the real Adams instead of what one suspects is the reverse.

Make no mistake. Bryan Adams is a talented man who can write a pop hook as well as anyone in the last generation. He also has a huge fan base, an active web site that hawks his photography and music and a reputation for stating his convictions on things ranging from politics to his vegan lifestyle.

Critics derided this album as meandering pop stripped of strings and synths, but that view does not credit Adams' songwriting ability. Often confused with Mellencamp early in their careers and with a gravely voice like Rod Stewart's but without the warmth, listeners may be tempted to dismiss the man's entire career, much less this album.

The Bottom Line, Skips and All

Those willing to forego the critics and the Adams bashing prevalent for over a decade will soon forgive the duets with Pavarotti, Streisand and Celine Dion. Listen instead to the songs, and you may find yourself more impressed than ever with light rock's main man. Or you can always slip Metallica's latest in the CD changer and forget that Adams has released seven albums reaching platinum status, signifying more than a million units sold. There has to be something to the mainstream beyond an innocuous and innocent sound. That something is finally laid bare on Bryan Adams Unplugged and makes the album worth a listen, if not a purchase.

Five Things To Remember From This Review

1. The production work is astounding.
2. Listen for new arrangements of familiar songs.
3. Summer of 69 is a particular standout.
4. Unplugged does not mean quiet or soft. The album still rocks in places
5. Cast away the goody-goody pop image. After twenty years of writing hits, this is as good a Greatest Hits collection as anyone in the genre could create.