Counting CrowsSaturday Nights and Sunday MorningsGeffen March 25, 2008
The first boy I ever loved introduced me to Counting Crows, and with that began a love affair that has lasted longer than any other relationship. Despite Adam Duritz's distinct voice overlaying every track of every album, each song has a unique sound, suitable for every mood and every situation. Beginning with their first hit album August and Everything, Counting Crows' hit their stride in the mid-'90s, continuing into the new millennium with a solid fan base. For the first time in six years and much to the pleasure of followers, Counting Crows has released a new album, Saturday Nights and Sunday Mornings.
In an interview Duritz described the thinking behind the album, which is divded into halves, as, "Saturday night is when you sin, and Sunday is when you regret." Saturday Nights was produced by Gil Norton, the genius behind Counting Crows' most innovative (if relatively unknown) second album, Recovering the Satellites. Satellites boasted a more rock sound with harder guitar riffs and vigorous drums. Saturday Nights contains a similar motif, although tends toward a more "hit or miss" with each song.
"1492" is the most raw I've ever heard Counting Crows sound and frankly, they sound quite unlike themselves. It's churning and angry; a seemingly unusual choice as the first song on a long awaited album. Yet, somewhere beneath all the music, the pensive and provocative lyrics that Counting Crows are famous for are revealed. "Oh where did we disappear, into the silence that surrounds us and then drowns us in the end, where these people who impersonate our friends..."
"Los Angeles" is one song I could have done without. Admittedly, the melody works really well in that slightly bluesy style, and the subject seems to be a favorite of Duritz ("Goodnight LA," anyone?) However, somewhere towards the end of the song, we hear, "We're gonna get drunk, find ourselves some skinny girls and go street-walkin.'" Dear god. Duritz, what happened to those excerpts of poetic prose I just praised? Rather the Crows used this as an advertisement for L.A.'s good tacos.
Saturday Nights' "Hanging Tree," "Insignificant" and the final "Cowboys" are true testaments to the greatness of the Counting Crows.
The album then switches gears into Sunday Mornings with "Washington Square," an acoustic, mellow piece indicative of the softer sound to the latter half of the album, which was created in the hands of Brian Deck, associated with Iron & Wine. Critics have claimed that Sunday Mornings is simply dull; however, I found the tracks generally enjoyable - just purely suited to another mood, such as those lazy Sunday mornings for which they were intended.
In all honesty, the second half of the album is not as technically complex and interesting as the first half. Sometimes Duritz's voice doesn't seem suited for the mellower tracks and the songs can take on a "ho-hum" quality. However, "When I Dream of Michelangelo" succeeded with a more Southern plucking of the guitar, and "On a Tuesday in Amsterdam Long Ago" is a beautiful piano track.
The album ends with another Norton piece, "Come Around," which is the perfect way to wrap up the album, leaving a pleasant taste in the listener's mouth.
Saturday Nights and Sunday Mornings isn't perfect - a few stinker lyrics and some boring melodies put a damper on the return of Counting Crows. Yet Duritz and the rest of the band managed to create some excellent songs, making up about two-thirds of the album. Let's hope that this release marks the start of a fruitful next few years in Counting Crows production.
- Sarah Sabshon
The Hush SoundGoodbye BluesAtlanticMarch 18, 2008
The last time we heard from the Hush Sound was on their sophomore album, Like Vines. This came on Pete Wentz's label, Fueled by Ramen, another example of a continuing theme of this writer's reviews. Perhaps we will re-title this column "New from Pete Wentz."
But we are here to discuss the Hush Sound. Like Vines was a poppy, catchy album with several standout tracks that got your toes a-tappin'.
Lead singer Greta Salpeter's voice was light and clear, though backup singer Robert Morris sometimes made too sharp a contrast.
Now on Goodbye Blues, the Hush Sound has moved toward maturity while still trying to retain some of its original catchy charm.
The first single, "Medicine Man," is a more bluesy, jazzy song. Salpeter's voice loses some of its clarity but gains something in growly emotion. I was reminded very distinctly of Fiona Apple's better work.
Salpeter groans deep blues-notes and gives a "whoa-oh" to challenge Amy Winehouse. But what of those of us who liked the Hush Sound for the clarity, for the airiness? We're left a bit out.
We can't be sure if this change is good or bad, but it is there. I found it best to accept it and move on.
Or take "Honey" as another example. The band goes into more mature, art-forward lyrics and stylings. It's a good, catchy track.
However there is a certain Like Vines quality that is missing.
My biggest problem with the Hush Sound's music in the past had been Morris's vocals, which generally sounded underproduced, where some basic volume reduction or equalizing could have made it clash a bit less.
But with Goodbye Blues, for example on "The Boys are Too Refined," Morris's voice comes through as a backup-or-occasional-lead vocalist's should. It's clearer, better balanced and fits more neatly into the music. In this, Morris, at least, has unquestionably improved.
It's hard to say where the dice fall on this album. If you found Like Vines a little wanting as far as credibility goes, this is the step up you've been waiting for.
But, on the other hand, if you want another album of drunken tracks that you can sing along to, you'll have to wait for Wentz's next prodigy band.
-John Kernan
