Still firmly set in the ways of his old punk-outlet, The Patty Duke Syndrome, Adams and the band's violinist Caitlin Cary often conflict betwixt the country-punk influence which emergesthroughout this album, and at times, Faithless Street offers a pleasing dose of distorted mongrolised Alt-Country with tracks like Drank like a River acting as a communal country sing-along with twinges of teenage-punk guitar abuse.Adams' songwriting ability is noted in tracks like Faithless Street, If he can't give you and Excuse me if I leave my own heart tonight, the latter turning up on a much more clean, Geffen-ised level on the band's next album, Strangers Almanac (1997). The punk-country battle does become strenuous at times, and though Adams worshippers will have light in the darkest parts of his career (and opposite to popular belief, he does have some), this album can be excused because of it's immaturity. Vocal drawls and glimmers of the latter-day, tortured genius, come to study in tracks like Black Arrow, Bleeding Heart, and Desperate ain't lonely only to be kicked up the bed in a pair of southern cowboy bootsby the Gram Parsons - country rock attempt in Hard Luck Story. This album has its place, in the yuppie mainstream anxiety of '90s high school America, it is comforting to recognise that a lot of punk-nerds were out there for the minority, and withno holds barred tracks like Revenge on this album, their attempt at battling back against the multitude of Us is worthy, even enjoyable. Born out of frustration, blighted by influence, hindered by immaturity, Faithless Street is an honest attempt, but honesty rarely survives, so have the over-educated twenty-somethings of Carolina a chance, forboth Wilcoand Ramones' fans will find something in this album. Achildish, but honestattempt atTop Dollar Blues indeed. ***
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