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Saturday Nights & Sunday Mornings (Bonus Track Version)

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iTunes Review

As suggested by title of the Counting Crows’ first album in six years, Saturday Nights and Sunday Mornings deals in celebration and contemplation. The album begins with the band driving hard; “1492” cruises like Pearl Jam. But by album’s end, singer Adam Duritz is nestled up alongside a piano wondering what it all means (“On A Tuesday Afternoon in Amsterdam Long Ago”) before pulling the band together for one final encore of classic rock togetherness (“Come Around”). The band’s louder moments are a tad brittle and Duritz’s plea for understanding his superstar life in “Los Angeles” a tad self-absorbed, but the band succeeds with the mid-tempo acoustic-based rock that brought them to national attention. “You Can’t Count On Me” has a sweet jangle and “On Almost Any Sunday Morning” perfectly replicates that “Sunday Morning Coming Down” that Kris Kristofferson once eloquently put into song. That’s where Counting Crows deliver on their promise as a no-nonsense band of the people.

Customer Reviews

TBTR: Track by Track Review of Saturday Nights & Sunday Mornings

This is it- The highly-anticipated new album from one of my favorite bands ever, Counting Crows. 1.) 1492 - Hard, angry, loud, and dark. It's probably one of the top 3 hardest-rocking CC songs. The lyrics are deep, but again very dark. The tune is intricate yet appropriate. Overall, it is a track that leaves you stunned and wowed. (5 stars) 2.) Hanging Tree - Upbeat, catchy and all-around great. It's got some light southern-rock sounds in it. This gives it a remnant feeling of Recovering the Satellites but also incorporates some fresh ideas. One of the best on the album. (5 stars) 3.) Los Angeles - Again, there is a distinct southern-rock feel to this track. It's kind of funky (which isn't bad) in its verses, but the chorus seems a bit under-thought and bland. I guess it fits, but it doesn't do much for me. It's like a 3.5, rounding to (4 stars) 4.) Sundays - More slight southern-rock sounds, but it mainly reminds the listener of the Hard Candy album. The lyrics are great, the melody is amazing. Just straight-up fantastic. (5 stars) 5.) Insignificant - Upbeat (rhythmically, not exactly lyrically) and very electric. The lyrics are familiar, yet still new and fresh. The melody is catchy, and altogether this track is easily capable of radio airtime in the future. (5 stars) 6.) Cowboys - Another hard, angry song like "1492." Bitter and violent, Adam's lyrics bring you clear imagines straight from his thoughts. The melody is somewhat repetative (mainly just the "C'mon / C'mon / Come on through now"), but it is still applicable and intense enough to fit the heavy guitars and drums. A little long, but still absolutely brilliant. (5 stars) 7.) Washington Square - Beautiful, inspiring, and intimate. The lyrics are creative and full of descriptive images that take you to the very center of Washington Square. The melody is soft and sweet. Leaves you awe-struck. (5 stars) 8.) On Almost Any Sunday Morning - Great folk-y, acoustic arrangement. Grade-A lyrics and melody. Slow but still memorable and important. No complaints whatsoever. (5 stars) 9.) When I Dream of Michelangelo - Very folk/bluegrass-ish, but still very Counting Crows-sounding. The lyrics are a little recycled, but it's all for a distinct purpose in this track. There is even one line that is taken directly from "Angels of the Silences," and it brings about a deep respect and effect on and from this track. In other words, it's great. (5 stars) 10.) Anyone But You - Very thoughtful and intimate. The sounds produced by the band here is original and emotional, and these sounds blend perfectly with the lyrics. All-around it's very decent. It has a strange ending, but it's original and fitting. It's like a 4.5, rounding to (5 stars) 11.) You Can't Count On Me - The big radio single, and there's a good reason why. The chorus is easy to learn (lyrically) and it's also catchy (melodically). The verses are a bit strange and take a little bit of time to get used to. Once you do, you won't be able to stop listening to it. (5 stars) 12.) Le Ballet D'Or - It's very different than most Counting Crows songs. It doesn't take much time to get used to though. It's extremely unique. The lyrics are brilliant and strong. The melody is also strong. (5 stars) 13.) On a Tuesday In Amsterdam Long Ago - This is ultimately what became of a 2004 song known to fans as "Tuesdays in Amsterdam." A stunningly beautiful and emotional ballad with unbelievably personal and palpable lyrics. It's not just the "Colorblind" of this album; it's its own new and fresh kind of tune. (5 stars) 14.) Come Around - A perfect way to wrap up this album. Upbeat, hopeful, and radio-friendly in a good way. Catchy, well-written, and definitely Counting Crows. Could be a single, so GET IT. (5 stars) [Bonus tracks; not added to total score but for those of you who are curious. 15.) Sesssions - 5 stars 16.) Sunday Morning L.A. - 4 stars] Final: 4.93, rounded to 5. There isn't much to say except that if you enjoy music, you should GET THIS RIGHT NOW. Beautiful, brilliant and classic. Just soooo good. Total: 4.93 -> 5 stars

They Couldn't Make a Bad Album If They Tried

It's no secret that the first half of this album is supposed to be more rock oriented. Like most long-time Counting Crows fans I took to this news with optimism, wondering if these songs were going to be more along the lines of Angels of the Silences. The truth is 1492 and Hanging Tree are as hard as this album gets, and though they're edgey, their lyrics are everything that a Counting Crows song should be. This first part of this album is brilliant, songs like Insignificant and Cowboys affirm that the Counting Crows are a truly special band with so much talent. After Cowboys this album dives quickly into the more familiar softer side of the Crows, and some of these songs are even softer and slower that you might expect. As with any Crows' song there is time to enjoy the music and let the lyrics set in and make you think about and feel what Adam is going through. Come Around ends the album on a up tempo note. After my first listen I am impressed as this album really covers a wide spectrum in tempo. I am certain this album will continue to grow on me. I am sure I don't have to tell you to purchase the album. Enjoy.

Worth the Wait!

After nearly 6 years since a new studio release, Counting Crows hits your ears with a sledgehammer and a tissue box. There are so many things to like about this record, but I personally enjoy the dark manner of Duritz's lyrics and the raucous instrumentation on the "Saturday Nights" half of the record (which more than makes up for the depravity of said instrumentation in much of "Sunday Mornings"). Counting Crows continues to take willing listeners to exciting places. This may be their riskiest and ultimately most rewarding outing since "August and Everything After."


Formed: August, 1991 in San Francisco, CA

Genre: Rock

Years Active: '90s, '00s, '10s

With their angst-filled hybrid of Van Morrison, the Band, and R.E.M., Counting Crows became an overnight sensation in 1994. Only a year earlier, the band was a group of unknown musicians, filling in for the absent Van Morrison at the Rock and Roll Hall of Fame ceremony; they were introduced by an enthusiastic Robbie Robertson. Early in 1993, the band recorded its debut album, August and Everything After, with T-Bone Burnett. Released in the fall, it was a dark and somber record, driven by the morose...
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