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Cold Roses
Cold Roses
Cold Roses
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Cold Roses
Studio album by
Ryan Adams and The Cardinals
ReleasedMay 3, 2005
RecordedLoho (New York City)
GenreAlternative country, country rock
Length76:11 (84:37 with bonus tracks)
LabelLost Highway Records (B0004343-02)
ProducerTom Schick
Ryan Adams chronology
Love Is Hell
(2004) 		Cold Roses
(2005) 		Jacksonville City Nights
(2005)
Professional ratings
Aggregate scores
SourceRating
Metacritic(69/100) [1]
Review scores
SourceRating
AllmusicStarStarStarStar [2]
Drowned in Sound(8/10) [3]
Entertainment WeeklyB [4]
The Music BoxStarStarStarStar [5]
NME(7/10) [6]
Pitchfork Media(7.2/10) [7]
PopMattersStarStarStarStar [8]
Robert Christgau(1-star Honorable Mention)[9]
Rolling StoneStarStarStarHalf star [10]
UncutStarStarStarStar [1]

Cold Roses is the sixth studio album by alt-country singer-songwriter Ryan Adams, released on May 3, 2005 on Lost Highway. The album is his first with backing band The Cardinals, and the first of three albums released in 2005.

Cold Roses has sold 159,000 copies in the United States.[11]

Although all the tracks can fit on a standard 80-minute disc, it was released as a double album with packaging and CDs designed to make it look like a vinyl LP. The album was also released in a standard 2-disc jewel case.

Background

[edit]

While performing in Liverpool in January 2004, Adams broke his left wrist when he slipped off the stage and fell six feet into the orchestra pit below.[12] A painful recovery and rehab period followed over the next several months, as Adams relocated to his hometown of Jacksonville, North Carolina, and slowly relearned how to play guitar. "There would be tears streaming down my face as I struggled to play Black Sabbath songs,” he later said.[13] During this difficult time, Adams was inspired by Jerry Garcia's playing because "he wasn’t afraid to fuck up".[14] This fascination with The Grateful Dead and Bob Dylan pointed Adams in a new musical direction, and his next band - christened The Cardinals - was conceived as a loose, spacious musical collective.[15]

Writing and composition

[edit]

In 2011, Adams claimed that "How Do You Keep Love Alive" was written while he was high on opium: "I fully understand when people say Edgar Allan Poe used to smoke this stuff and have visions. I wrote the entire song "How Do You Keep Love Alive" without writing a word down, and I played it on piano. And I've tried to understand the chord pattern ever since, because I can't fuckin' play it."[16]

Reception

[edit]

The album so far has a score of 69 out of 100 from Metacritic based on "generally favorable reviews".[1] USA Today gave it three-and-a-half stars out of four and said, "What makes this hard-to-pigeonhole country/folk/ punk/pop-rocker remarkable is the quality of the quantity. There's not a bad song in Cold Roses' 18-track bouquet, and at least 13 are worth instant iPod enshrining."[17] The Guardian gave it a score of four stars out of five and said of Ryan Adams: "The boy wonder is back in the saddle."[18] Chicago Tribune gave it a favorable review and called it "Adams' most ambitious effort to date."[19] The A.V. Club gave it a favorable review and said it "feels fantastic--as pretty and affecting as a slow sunset."[20] Spin gave it a score of seven out of ten and said, "There's an air of formal exercise here.... But if you can ride with the cliches, you won't fault the execution."[21] E! Online gave it a B− and said, "Even if it is twice as long as it needs to be (thus, a couple of dead spots), we're not arguing. We're just enjoying the music."[1]

Some reviews are average or mixed: The Austin Chronicle gave it a score of three stars out of five and called it "Adams' double-album hubris".[22] Neumu.net gave it a score of six stars out of ten and called it "a relaxed and ambitious collection that confirms Ryan Adams' reputation as a top-notch singer and songwriter who easily jumps styles and evokes comfortable sadness with every turn."[23] Tiny Mix Tapes gave it a score of three stars out of five and called it an "18-track monster".[24] Paste also gave it a score of three stars out of five and said it "comes as a bit of relief, bereft of the posturing that so often attends Adams’ work.... That said, there’s also a sense of retreat that permeates the record, a willingness to offer the comforts of familiar tones instead of ambitiously taking chances."[25] Playlouder gave it a score of two-and-a-half stars out of five and called it "A frustratingly self indulgent and inconsistent double album that pitches itself somewhere between the classic country rock of 2001's 'Gold' and the lovelorn despair of 2004's 'Love Is Hell'."[26] Flak Magazine gave it a mixed review and said, "Without the first disc, the double disc Cold Roses wouldn't be half bad."[27]

Track listing

[edit]

All tracks are written by Adams, Bowersock, Cashdollar, Pemberton and Popper.

Disc one
No.TitleLength
1."Magnolia Mountain"5:53
2."Sweet Illusions"5:02
3."Meadowlake Street"4:29
4."When Will You Come Back Home"4:52
5."Beautiful Sorta"3:01
6."Now That You're Gone"3:52
7."Cherry Lane"4:32
8."Mockingbird"4:47
9."How Do You Keep Love Alive"3:12


Disc two
No.TitleLength
1."Easy Plateau"5:12
2."Let It Ride"3:24
3."Rosebud"2:56
4."Cold Roses"4:36
5."If I Am a Stranger"4:39
6."Dance All Night"3:15
7."Blossom"3:15
8."Life Is Beautiful"4:29
9."Friends"4:45


Bonus tracks
No.TitleLength
1."Tonight" (Vinyl and UK release only, also released as an iTunes exclusive album-only track)3:29
2."So Hot, So Cold" (Japan and UK Bonus Track)3:20
3."Operator, Operator" (Japan Bonus Track)1:46

Performers

[edit]

Chart positions

[edit]

Album

[edit]
Country Peak
position
US[28] 26
Australia[29] 31
Belgium (Flanders)[30] 27
Denmark[31] 31
Germany[32] 39
Netherlands[33] 48
Ireland[34] 16
New Zealand[35] 30
Norway[36] 9
Sweden[37] 8
UK[38] 20

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Cold Roses

View on Grokipedia
from Grokipedia
Cold Roses is a by the American musician and his backing band the Cardinals, released on May 3, 2005, by Lost Highway Records; reissued on 180-gram vinyl in 2023. It serves as the debut studio album for the Cardinals and consists of 18 tracks spanning two discs, blending elements of rock, folk, and with confessional lyrics and meandering mid-tempo arrangements inspired by the . The album represents a return to Adams' alt-country roots, echoing the sound of his earlier work with the band , while showcasing the Cardinals' collaborative contributions through detailed instrumentation and road-worn energy. Recorded following Adams' extensive touring with the Cardinals in 2004, Cold Roses features guest appearances by vocalist and pianist on select tracks, emphasizing themes of love, loss, and introspection amid twangy guitars and pedal steel. Critics praised its earnest songwriting and genre fusion, though some noted its length could lead to monotony, suggesting it might have benefited from condensation into a single disc. Notable tracks include the upbeat country-rock track "Let It Ride" and the reflective "If I Am a Stranger," which highlight Adams' versatile vocal delivery and the band's cohesive dynamic. Overall, Cold Roses solidified Adams' reputation as a prolific songwriter in the Americana scene, influencing his subsequent releases like Jacksonville City Nights later that year.

Background and Development

Formation of The Cardinals

Following a wrist injury sustained during a live performance in early 2004, which required surgery and extensive rehabilitation, took a hiatus from touring and recording to reassess his musical direction. This period of recovery influenced a shift toward a more collaborative and band-oriented approach, leading Adams to form The Cardinals as his backing band later that year. The group's creation provided a stable ensemble to explore his alt-country and roots-rock sensibilities, contrasting his earlier solo work marked by rapid output and stylistic experimentation. The Cardinals debuted with the Cold Roses, released on May 3, 2005, via Lost Highway Records, marking the first project officially credited to . The initial lineup assembled for the album's recording and supporting tour included Adams on vocals, acoustic and electric guitars, harmonica, piano, and additional instrumentation; on bass, piano, and backing vocals; Brad Pemberton on drums and backing vocals; J.P. Bowersock on electric and acoustic guitars; and on dobro and . This configuration emphasized a warm, organic sound rooted in Americana traditions, with the musicians' contributions enhancing Adams' songwriting through layered harmonies and instrumental interplay. The band's formation in 2004 allowed for pre-album touring that helped refine their chemistry, setting the stage for Cold Roses as a pivotal release in Adams' catalog. While the core group evolved shortly after— with guitarist joining in 2005 to replace Bowersock for subsequent recordings and tours— the original ensemble captured the raw, communal energy that defined the band's early identity.

Influences and Conceptual Origins

The conceptual origins of Cold Roses trace back to ' decision to reform a backing band after years of solo output following the 2000 disbandment of . In 2004, Adams assembled the Cardinals to recapture the collaborative energy of his alt-country roots while exploring new directions. This lineup enabled a shift toward expansive, band-driven recordings, with Cold Roses emerging as their debut album in 2005, conceptualized as a double-disc project that blended introspection with communal jamming. A primary influence on the album was the , particularly Jerry Garcia's improvisational guitar style, which Adams drew upon during a period of personal recovery from health issues and creative burnout. , the Cardinals' guitarist, later recalled Adams' "fairly obsessed" fascination with the Dead, noting that the Cold Roses era was "based on a lot of that stuff," infusing the record with a playful, exploratory rather than rigid structures. This Dead-inspired approach manifested in extended jams and a relaxed vibe, evoking the band's 1970 country-rock phase on albums like American Beauty. The album also channeled broader Americana influences, including The Band's rustic ensemble sound and ' forays into country, as heard in tracks bridging raw balladry and twangy rock. Critics observed Cold Roses as a to Adams' Whiskeytown-era alt-country, but elevated through these lenses, prioritizing emotional vulnerability over solo polish. Adams himself positioned the sessions as a foundation for further experimentation, with leftover time yielding a follow-up evoking the Grateful Dead's .

Recording and Production

Studio Sessions

The recording of Cold Roses took place at Loho Studios in , where and his newly formed backing band, The Cardinals, captured the album's expansive double-disc format. The sessions emphasized a collaborative approach, with Adams describing the process as an intense series of jamming sessions that allowed the band to develop a collective sound rooted in country-rock influences. This live-band energy was central to the production, enabling the group to explore extended improvisations and refine songs through group interplay rather than isolated solo efforts. Producer and engineer Tom Schick oversaw the sessions, handling recording duties alongside assistant engineer Tom Gloady, while Adams co-mixed the tracks with Schick at the same studio. The Cardinals' lineup—featuring J.P. Bowersock on guitar and vocals, Brad Pemberton on drums and vocals, on bass, piano, and vocals, Ned Brower on percussion and vocals, and on pedal steel and —contributed to the album's layered instrumentation, with additional overdubs adding depth to the . These sessions, conducted over multiple days, yielded a raw yet polished sound that reflected the band's onstage chemistry, though Adams later reflected on the album as a "" of evolving ideas sifted from broader creative explorations. Following the primary recording, the album was mastered by Fred Kevorkian at his New York facility, ensuring clarity across the sprawling runtime. The efficient studio workflow at Loho, a venue known for its role in indie and alt-country projects, allowed Adams and The Cardinals to complete the bulk of the work swiftly, setting for the album's release as the first in a planned of 2005 recordings.

Production Team and Techniques

The production of Cold Roses was led by Tom Schick, who served as producer, recording engineer, and mixing engineer, marking a collaborative effort with on mixing duties. The Cardinals, Adams' backing band featuring J.P. Bowersock on guitar and vocals, on and , Brad Pemberton on drums and vocals, on bass, , and vocals, and Ned Brower on percussion and vocals, formed the core recording ensemble, with Adams contributing vocals, acoustic and electric guitars, harmonica, , and additional instrumentation on select tracks. Recording engineer Tom Gloady assisted Schick in capturing the sessions, while guest vocalist and pianist appeared on three tracks: "Let It Ride," "Cold Roses," and "Friends." The album was recorded and mixed at Loho Studios in during two intensive sessions spanning a short period, often in the middle of the night to foster a sense of urgency and spontaneity. Adams later described the process as embodying a "duration of wildness and no-holds-barred" approach, emphasizing raw energy over polished refinement. Techniques centered on to tape, utilizing vintage compressors and machines that allowed signals to push into the red without digital distortion, evoking '80s-era production aesthetics while capturing the band's live interplay with minimal overdubs. This method preserved the organic, alt-country texture, with bleed between instruments contributing to the album's immersive, unfiltered sound. Final mastering was handled by Fred Kevorkian at Kevorkian Mastering in New York, ensuring the double-disc set's warm, across its 18 tracks. Schick's involvement, building on prior work with Adams, prioritized quick setups and performance-driven takes, aligning with the band's goal of delivering an authentic, band-centric record rather than a solo showcase.

Musical Composition

Songwriting Approach

The songwriting for Cold Roses marked a shift toward greater for , who had previously been known for more solitary creative endeavors. Working with his newly formed backing band, The Cardinals—comprising J.P. Bowersock on guitar, on bass, Brad Pemberton on drums, and on pedal steel—Adams shared songwriting credits and royalties equally among the group members, fostering a communal atmosphere where ideas were developed collectively rather than dictated solely by him. This approach emphasized capturing spontaneous inspiration, with Adams often composing songs in as little as five to fifteen minutes before the band recorded rough takes on the spot to preserve the raw energy. Influenced by the Grateful Dead's 1970 album American Beauty, Adams aimed for a song-oriented yet gently psychedelic sound that prioritized emotional depth over technical complexity, drawing on the Dead's blend of , folk, and rock elements. He described the process as searching for "the song, not my song," highlighting a democratic where band input shaped lyrics and arrangements, resulting in the album's spanning themes of love, loss, and . This collaborative dynamic contrasted with Adams' earlier solo work, yielding a that felt like a band effort despite his central role. Individual songs exemplified Adams' intuitive, unpolished method; for instance, "How Do You Keep Love Alive?" was composed entirely in his head without notation, played directly on piano during a session influenced by opium, and later difficult for him to replicate due to its improvisational nature. This rapid, minimally edited style aligned with Adams' broader 2005 output, where a wrist injury recovery spurred a prolific burst, leading to three albums that year without extensive revisions or external oversight. Critics noted the lyrics' confessional tone, focusing on modest, heartfelt narratives rooted in country traditions, though some observed the final product retained Adams' dominant voice amid the group's contributions.

Style and Instrumentation

Cold Roses exemplifies the alt-country and Americana genres, characterized by a blend of -rock elements that emphasize twangy guitars, melancholic melodies, and introspective lyrics evoking themes of longing and escape. The album leans more toward influences than pure rock, incorporating classic Western motifs such as lonesome wails and Ennio Morricone-inspired guitar whirls, while drawing from the Grateful Dead's American Beauty-era sound with slow, jam-friendly interludes and guitar scrapes. This results in a sprawling, double-disc collection that balances energy with adult-alternative introspection, often featuring pained vocals over subtle, evocative arrangements that prioritize and emotional depth. The instrumentation centers on The Cardinals' lineup, which provides a rich, organic texture suited to the album's rootsy aesthetic. handles vocals, acoustic and s, harmonica, and piano, contributing to tracks like "Blossom" where he also plays bass. J.P. Bowersock delivers with wiggly solos and playful licks reminiscent of vintage country-rock, as heard in the meandering, Jerry Garcia-like leads on "Easy Plateau." adds whining and , essential for the country flavor in songs such as "Let It Ride," while plays bass, piano, and provides backing vocals, enhancing the languishing piano lines in "How Do You Keep Love Alive." Brad Pemberton rounds out the core sound on drums and backing vocals, supporting the album's quiet, acoustic-leaning mood punctuated by occasional upbeat folk-rock moments like "Beautiful Sorta." Overall, the production highlights these instruments in a live-band feel, with pedal and harmonica underscoring the twangy Telecaster riffs in tracks like "Dance All Night," creating a cohesive yet varied sonic palette that elevates the album's country-rock perfection.

Release and Promotion

Commercial Release

Cold Roses was commercially released on May 3, 2005, by Lost Highway Records, marking ' first album with his backing band The Cardinals. The consists of 18 tracks spread across two discs, totaling approximately 76 minutes of music, though the content could fit on a single standard ; the decision to issue it as a double set was intentional to evoke the aesthetic of a vinyl LP, with packaging featuring artwork and disc labels mimicking 12-inch records. It was initially available in format, with a catalog number of 988182 for the standard edition. The release followed Adams' pattern of prolific output, coming shortly after the EP Love Is Hell in and preceding two more full-length albums later that year. Lost Highway, a imprint specializing in country and Americana, handled distribution in and internationally, with European editions released around the same time via Polydor/Universal. No physical singles were issued to promote the album, aligning with Adams' focus on album-oriented releases during this period. Vinyl editions were not part of the initial commercial rollout but appeared in later s, including a 180-gram double LP in 2017 that replicated the original artwork. A further on 180-gram vinyl was released in 2023. The debuted at number 26 on the US chart in its first week, selling 34,000 copies according to Nielsen SoundScan data, while entering the at number 20.

Marketing Strategies and Touring

Lost Highway Records, Adams' label at the time, marketed Cold Roses as the debut album of his new backing band, the Cardinals, emphasizing a return to his alt-country roots following the more rock-oriented Love Is Hell (). The album was positioned as the first installment in an ambitious 2005 release schedule that included three full-length projects, a intended to capitalize on Adams' prolific output and build across the year. This multi-album approach was announced in advance to generate buzz, with Cold Roses highlighted for its double-disc format and collaborative band credits. Promotional efforts included standard label materials such as advance press announcements and targeted media coverage, with noting the album's pruning from an initial four-disc concept to a more focused two-disc release to enhance commercial appeal. The label also distributed promotional posters and lithographs to retailers and media outlets to support in-store displays and campaigns. Additionally, a promotional DVD was produced, chronicling aspects of the album's creation and band dynamics to provide behind-the-scenes insight for fans and press. To drive sales and visibility, and the Cardinals launched an extensive headlining tour in late 2005, just ahead of the album's release, with U.S. dates extending through at least July. The tour focused on showcasing the new band's sound, featuring heavy emphasis on Cold Roses material alongside selections from Adams' solo catalog. Key North American stops included the Calvin Theatre in (April 27), Higher Ground in (April 28), and Stubb's Bar-B-Q in (June 16). The itinerary encompassed over 40 concerts that year, reflecting a rigorous promotional push. Following the initial U.S. leg, expanded to a worldwide tour, performing in and other international markets without slide guitarist , who departed shortly after recording. Notable overseas dates included the Azkena Rock Festival in , (October 9, 2004, as a pre-release warm-up) and various 2005 European venues. This global outreach helped broaden the album's reach, aligning with Lost Highway's strategy to establish the Cardinals as a touring entity capable of sustaining Adams' evolving career.

Critical Reception

Contemporary Reviews

Upon its release in May 2005, Cold Roses by Ryan Adams & the Cardinals garnered generally favorable reviews from critics, who appreciated its shift toward rootsy country rock and Adams' collaborative work with his new backing band, though many noted the double album's excessive length as a drawback. Pitchfork's William Bowers described the record as a return to Adams' country influences, likening it to the Grateful Dead's American Beauty era for its twangy, melancholic sound, and praised standout tracks like the confessional "Magnolia Mountain" and the Morricone-inspired "Let It Ride," while critiquing its monotony and potential for trimming to a single disc. Rolling Stone's Christian Hoard gave the album 3.5 out of 5 stars, commending its heartfelt balladry and the Cardinals' polished arrangements on songs such as the jangly "Let It Ride" and tender "If I Am a Stranger," which showcased Adams' emotional depth and road-worn authenticity, but faulted some tracks for meandering sentimentality amid the 20-song sprawl. The Sydney Morning Herald's review highlighted the band's relaxed chemistry and effective mid-tempo country numbers like "When Will You Come Back Home" and "Now That You're Gone," bolstered by vocal contributions from Catherine Popper and Rachael Yamagata, yet pointed to inconsistencies, with generic efforts like "Beautiful Sorta" diluting the stronger material and leaving an uneven impression across listens. PopMatters offered a more negative assessment, rating it 4 out of 10 and arguing that despite highlights like the imagery-rich opener "Magnolia Mountain" and the soaring "Sweet Illusions," the album suffered from sloppy lyrics, characterless by the Cardinals, and self-pitying themes that failed to recapture the consistency of Adams' era. Treble's Jeff Terich lauded Cold Roses as Adams' strongest work in years, evoking the soulful of 's with honest vocals on tracks like "Magnolia Mountain" and "Let It Ride," though suggested its 75-minute runtime across two discs might overwhelm listeners despite the digestible song structures. Overall, the album aggregated a Metacritic score of 72 out of 100 based on 23 reviews, reflecting a solid but divided reception that celebrated its genre fidelity while questioning its ambition.

Retrospective Evaluations

Over the years, Cold Roses has been reevaluated as one of Ryan Adams' strongest and most cohesive albums, often ranked among his finest works for its return to alt-country roots following more experimental releases like Rock N Roll. In a 2015 tenth-anniversary reflection, it was described as a "twangy return to form" that recaptured Adams' critical acclaim after flirtations with mainstream rock, emphasizing its sprawling yet focused double-album structure. Critics have praised the album's loose, jammy country-rock sound, influenced by the , which evokes late-night studio sessions and positions it as a creative peak in Adams' discography. A anniversary piece on his 2005 trilogy highlighted Cold Roses as "one of Adams’ finest releases," rivaling earlier successes like Heartbreaker and Love Is Hell in fan and critical estimation, while noting its role in refocusing Adams after personal setbacks, including a injury. The Cardinals' backing added a band dynamic that grounded Adams' prolific output, making the album feel like an extension of his era. In broader career retrospectives, Cold Roses consistently ranks highly; a 2017 assessment placed it second among Adams' 16 studio albums, calling it a "near-perfect Ryan Adams record" that rediscovered his passion for alt-country and evoked a "lost" Whiskeytown double album. Its legacy endures as the debut of the Cardinals lineup, influencing Adams' subsequent Cardinals-era releases like Jacksonville City Nights and Easy Tiger, and solidifying his reputation for genre-shifting yet heartfelt songwriting. However, retrospective views have been complicated by 2020 allegations of against Adams, which led to reevaluations of his personal and artistic legacy in some critiques, though the album's musical merits continue to be affirmed by many. Marking its twentieth anniversary in 2025, the album continues to be celebrated as a timeless collection of unvarnished country-rock and balladry, reminiscent of influences like and , with its heartfelt themes holding up as a benchmark of Adams' enduring alt-country mastery.

Commercial Performance

Chart Performance

Cold Roses debuted at number 26 on the US chart in May 2005. The album spent a total of six weeks on the chart, reflecting moderate commercial success in the for the double-disc release. Internationally, Cold Roses performed strongly in the , where it entered the Official Albums Chart at number 20 and remained for three weeks. The album also reached number 9 on the Norwegian Albums Chart for three weeks. The album did not produce any charting singles on major US or charts, with promotion relying primarily on the full album's alt-country appeal rather than individual tracks.
Chart (2005)Peak PositionWeeks on Chart
US Billboard 200266
UK Albums (OCC)203
Norwegian Albums (IFPI Norway)93

Sales and Certifications

Cold Roses debuted at number 26 on the chart, selling 34,000 copies in its first week. By November 2005, the album had sold more than 123,000 copies in the . Overall, it has sold over 159,000 copies in the market. In the , Cold Roses entered the Official Albums Chart at number 20 and spent a total of on the listing. No specific sales figures for the UK have been publicly reported. The album also charted modestly in other territories, including (number 9). Detailed international sales data remains limited. Cold Roses has not received any certifications from major industry bodies such as the RIAA in the or the BPI in the United Kingdom, reflecting its status as a mid-level commercial performer within .

Track Listing and Personnel

All tracks written by Ryan Adams, J.P. Bowersock, , Brad Pemberton, and .

Disc One Track Listing

No.TitleDuration
1."Magnolia Mountain"5:52
2."Sweet Illusions"5:02
3."Meadowlake Street"4:28
4."When Will You Come Back Home"4:52
5."Beautiful Sorta"3:01
6."Now That You're Gone"3:52
7."Cherry Lane"4:32
8.""4:47
9."How Do You Keep Love Alive"3:11

Disc Two Track Listing

The second disc of Cold Roses features nine tracks, continuing the album's alt-country and rock influences with introspective lyrics and varied instrumentation. The tracks are as follows:
No.TitleLength
1."Easy Plateau"5:12
2."Let It Ride"3:24
3."Rosebud"2:56
4."Cold Roses"4:36
5."If I Am a Stranger"4:39
6."Dance All Night"3:15
7."Blossom"3:16
8."Life Is Beautiful"4:29
9."Friends"4:44
Some editions include a bonus track, "Tonight" (3:29), but it is not part of the standard disc two configuration.

Personnel

The personnel for Cold Roses features and his backing band The Cardinals, with production handled by Adams and Tom Schick. Specific contributions vary by track, emphasizing the album's collaborative yet intimate sound. Key members and roles include:
  • Ryan Adams: Vocals, acoustic and electric guitars, harmonica, piano (on select tracks); bass on "Blossom"; all instruments on "Life Is Beautiful"; producer.
  • J.P. Bowersock: Acoustic and electric guitars, vocals (on most tracks).
  • Catherine Popper: Bass, vocals, piano (on most tracks).
  • Brad Pemberton: Drums, vocals (on most tracks).
  • Jon Graboff: Pedal steel guitar, violin, vocals (on most tracks).
  • Cindy Cashdollar: Dobro, steel guitar (select tracks).
  • Rachael Yamagata: Vocals, piano on "Let It Ride", "Cold Roses", and "Friends".
Additional production and technical roles include Tom Schick as co-producer, recording, and mixing engineer; Jamie Candiloro as recording and mixing engineer on ""; and Stephen Marcussen as mastering engineer. Art direction and design were by Andy West, with photography by .

References

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  2. https://pitchfork.com/reviews/albums/42-cold-roses/
  3. https://saintmarierecords.com/products/ryan-adams-the-cardinals-cold-roses
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  5. https://www.times-georgian.com/ryan-adams-and-the-cardinals-masterful-cold-roses/article_7026c47c-9ea0-59af-bb61-54016c7d1222.html
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  7. https://www.discogs.com/release/898326-Ryan-Adams-The-Cardinals-Cold-Roses
  8. https://ryanadamsofficial.com/music/cold-roses
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  10. https://www.npr.org/2005/07/04/4729273/return-to-country-ryan-adams-the-cardinals
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  20. https://tapeop.com/interviews/132/tom-schick
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  27. https://www.rollingstone.com/music/music-news/nin-slay-competition-244550/
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  30. https://www.concertarchives.org/bands/ryan-adams-the-cardinals
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  34. https://www.smh.com.au/entertainment/music/ryan-adams-cold-roses-20050514-gdlbef.html
  35. https://www.popmatters.com/adamsryan-coldroses-2495823207.html
  36. https://www.treblezine.com/ryan-adams-the-cardinals-cold-roses/
  37. https://www.metacritic.com/music/cold-roses/ryan-adams-the-cardinals
  38. https://consequence.net/2015/06/ranking-the-album-ryan-adams-the-cardinals-cold-roses/
  39. https://www.pastemagazine.com/music/ryan-adams/ranking-ryan-adams-16-records
  40. https://www.nytimes.com/2020/02/06/arts/music/ryan-adams-sexual-misconduct.html
  41. https://tinnitist.com/2025/05/06/classic-album-review-ryan-adams-the-cardinals-cold-roses/
  42. https://www.billboard.com/music/music-news/ryan-adams-preps-second-cd-of-2005-61667/
  43. https://elpee.jp/artist/Ryan%2520Adams%2520%2526%2520The%2520Cardinals/
  44. https://www.norwegiancharts.com/showinterpret.asp?interpret=The+Cardinals
  45. https://www.musicchartsarchive.com/albums/ryan-adams/cold-roses
  46. https://www.billboard.com/music/music-news/nine-inch-nails-returns-on-top-1412559/
  47. https://www.billboard.com/music/music-news/ryan-adams-preps-third-cd-of-2005-60672/
  48. https://www.officialcharts.com/artist/17138/ryan-adams-and-the-cardinals/
  49. https://genius.com/albums/Ryan-adams-and-the-cardinals/Cold-roses
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