Counting Crows - Saturday Nights & Sunday Mornings
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Free Music Notes for Saturday Nights & Sunday Mornings
Free Music Review: Creativity doesn't have to be "even" or consistent to be good.
Hit: 4 Stars
I confess to being a fan of CC. I regularly enjoy every CD they have released -- each for different reasons. Each one fulfills a different emotional fix for me, and that is as it should be (in my perfect world of music anyway). I'd like them much less if everything sounded like their first, or the same. I expect to be taken on a ride of musical and personal growth with the artist(s).
Adam has ALWAYS been angst-ridden, and low and behold, he still is! But I enjoy his public tight rope walking and indulgence for what it is -- creative expression. And I happen to relate to a lot of it too. Yep, some lyrics are less than profound, some are repetitious, and yes, there are a few structural formulas starting to show through, but nonetheless, the expression of this band feels HUMAN to me (e.g. imperfect and real).
This new release hasn't left my CD player in 2 days and will join the ranks of the others as my 'must take to the deserted island with me'.
The GOOD about this release:
- Kick-ass production -- the best of all their releases
- The band is tighter than ever and the guitar work not only ROCKS, but is outstanding
- The bluesy vibe in certain songs is really well done (most notable on Los Angeles)and shows the range of the entire band's music abilities
- Something for every CC fan -- mellow, angsty, funny, straight-forward pop, and gutsy rock
The NOT-SO-GOOD about this release:
- "You Can't Count on Me" sounds like the Shrek song with new lyrics and feels like it was written to be a mainstream radio release
- "On A Tuesday in Amsterdam..." is the typical Adam emotional wail song included on every CD (Raining in Baltimore,I'm Not Sleeping, Colorblind, Goodnight L.A.). I never skip these songs, but sometimes they do draaaggg.
I think any middle-of-the-road Counting Crows fan will enjoy this CD.
Free Music Review: you can't count on Crows
Hit: 2 Stars
ok, why are you all praising this album? Best since Satellites? Ok, so Hard Candy saw a decrease in the lyrical genius of Adam, but it's still got great music and is a good album if you delete that one bad song (I hate Maryann, whoever she is) - so what it's a bit pop-y. then they say comparable to August? bah. What are they thinking? This is their worst album and it's only got a couple decent cuts.
Here's where I'm coming from: I'm a dedicated fan. Seen the Crows in concert 8 times (5 since 2000), and every time I think it's the best concert I've ever seen (not limited to crows). I think the evolution in their music is amazing - how can they keep making great songs even better. Their last tour included a version of Rain King that topped the "New Amsterdam" version, which bested both "Across a wire" versions which far outstripped the album version which is a fantastic song. I think every song they've recorded is at least good (with the aforementioned exception), and all their studio albums are great to listen all the way through. I think their best 5 recorded songs are: Round here (Across a wire cd 2), Perfect blue buildings (New Amsterdam), Anna Begins (Across a wire cd 1) Hanging around (New Amsterdam), Up all night (Hard Candy). Of course if you're a fan of these songs too, you've already bought this album, so I guess I'm just venting.
Ok, so back to Saturday nights and Sunday mornings. I guess I just had high expectations. Today, I expected to see a bunch of ratings trashing this album when I came on here to do that. But no. I can't understand. I've tried to like this album. I've tried very hard. But I think I would be embarrassed to play it in my car. It's got some annoying sections, some bad lyrics, and some worse vocals. It's got almost no emotion. It's got no good rock. It's got no great lines that aren't reused. It's got a bit of innovation, but the album has no flow. I think it was a double album that got shrunk because it was even worse. Jeez, what did they throw out?
A few months ago, I heard a new track that I wasn't on any major album (live or studio), called "Baby I'm a big star now". Great song. I had hoped that song was a preview of the brilliant new album on the way. urgh
I'm sad. waiting over 5 years for this?
Good cuts:
Cowboy - will be one of the best concert songs in their repertoire and certainly on this album
le Ballet d'Or - the only really good song on the album - interesting, new, but it builds and never gets anywhere
On almost any sunday morning - nice harmonica
decent cuts:
Come around
On a tuesday in Amsterdam long ago
That's it man.
not a fan of the big single, "you can't count on me". Just does nothing for me. And even some of the lyrics are a bit annoying.
yeah, I mean, you've got to buy the album, just don't expect great things. Or better yet, wait till you find one on the street that's been thrown out of someone's car in a fit of frustrated "why did they do this to me" agony.
Free Music Review: Perfect yet again......like the new Poi Dog Pondering '7' CD
Hit: 5 Stars
Incredible...this has been a great year for music. The new REM (except the sound quality) and this CD were a long wait well worth it. The only CD that I have enjoyed more, is the new Poi Dog Pondering '7' CD. Check it out, you owe it to yourself, and every friend you have to buy that CD.
It's wonderful to see a return to true songwriting, with all the junk that has been on the radio and mtv for the last decade.
Free Music Review: Caving To The Pleasures Of Counting Crows
Hit: 4 Stars
Damn if listening to the Counting Crows' Saturday Nights & Sunday Mornings isn't both great, and annoying, at the same time. If you're okay with sentencing yourself to hearing the whiney, self-absorbed rants of Adam Duritz, go for it because on the band's sixth studio record Adam still hasn't learned how to be happy, but the group wraps up some its lead singers amazingly negative attributes into some of the best constructed songs and moments of their career.
At the core of Counting Crows appeal has always been a dramatic quality that few bands present. Whether Duritz is whining about empty one night stands (1492), wallowing in misery (Hanging Tree) or straight out admitting he's a jerk (You Can't Count On Me), the latest release from Counting Crows doesn't present it's sole lyricist as a very admirable character, but the almost uncomfortable level of honesty Duritz puts on display allows the band to craft music that matches the lead singers over-the-top brilliance and annoyance. Apparently his band members don't mind because songs like Cowboy showcase the bands surrounding of Duritz's self-indulgent lyrics with music that flies out-of-control into a completely unique hard rocker that captures Duritz's rage at the world around him. But really Adam, how bad is it to be a rich rock star?
The Crows have always had great players and they're on full display here, cranking up the rockers that dominate the first half of the record with meaty riffs that rival any arena gods. But on the second half of the record, the quiet, contemplative group that gave us a Long December (just the best piece of pop rock from the late 90's) jumps away from the thrashing guitars to bring use some more empty longings of wasted days and sad reflections. The last seven songs are as self-absorbed and whinny as anything the band has given use, but damn if these boys can't consistently walk that tight-rope and create memorable melodies out of these sad sentiments.
The first single, You Can't Count On Me, is the ultimate example of the tight-rope that defines the Crows career as Duritz basically admits he's not worthy of trust, but instead of hating the guy you somehow relate to the sentiments being expressed because well, that's what the Crows do. But damn isn't it annoying having to admit you've acted just as badly as Adam Duritz has?
Free Music Review: Actually, I think this is their best yet
Hit: 4 Stars
Considering that I reviewed this band on a whim in the first place, I wasn't exactly enthused when I heard about this album. I mean, come on, it's been six years since their last studio album, which wasn't great in the first place. And what have they released in those six years? "Accidentally in Love", which makes me want to kick the radio in whenever I hear it. I could care less about those stupid "Come on, come on"'s - I'll take "Mr. Jones" instead, thanks! So this one was a damn big surprise to me. In fact, unless these guys knock me out in ten years with their sixth album, I'm gonna go as far as saying this is the group's best. Basically, the "Saturday Nights" part of this album is dedicated to blistering rock that's about 1.02x10^28 better than anything from Recovering the Satellites, with lyrics that criticize the most extreme of indulgences in the sex, drugs, and rock `n' roll scene, and the "Sunday Mornings" half is devoted to quiet country-folk ballads that wallow in regret. Out of the rockers (and everything else on the record), my favorite is "1492", the best song they've done in quite a while, if not ever - it's like "Rain King", but even better, because it lacks the wimpy falsetto "yeaaaah!" at the end that ruined an otherwise stunning song. But there's no way that's all: you also have the lyrically striking "Hanging Tree"; funny satire "Los Angeles"; "Insignificant", with a cool guitar solo; the folky, delicate ballad "Sundays"; and the almost Springsteen-esque "Cowboys". Then we get to "Sunday Mornings", which is where the group's folk influence becomes explicit - the main hook on "Washington Square" is played on mandolin, and it's got a Dylanesque harmonica, as does "On Almost Any Sunday Morning"; "When I Dream of Michelangelo" has a delicate piano part that might have came off August and Everything After; and the piano ballad "On a Tuesday in Amsterdam Long Ago" has an intense vocal. And there's an anomaly on each side: the lead-off single "You Can't Count on Me", found on the "Sunday Mornings" side has a heavy electric guitar riff to contrast its folksy verses; and "Sundays" is an acoustic ballad on the "Saturday Nights" side, while the closing "Come Around" mixes both extremes. Bits of this slog by without much hint of melody ("Anyone But You" and its really annoying synthesizer; "Le Ballet d'Or"). Still, the odds were definitely against these guys here (I expected this to suck), and I'm pleased to report that this is the best they've ever put out. Not to mention the parts about it being a big hit and getting good reviews. Oh, and if you weren't a big fan of Duritz's voice from the '90s, he's eased up on the falsetto significantly.