Counting Crows - Saturday Nights & Sunday Mornings
Bit Rate: 320 kbps
Release Date: March 25, 2008
Track List:
1. 1492
2. Hanging Tree
3. Los Angeles
4. Sundays
5. Insignificant
6. Cowboys
7. Washington Square
8. On Almost Any Sunday Morning
9. When I Dream Of Michelangelo
10. Anyone But You
11. You Can"t Count On Me
12. Le Ballet d"Or
13. On A Tuesday In Amsterdam Long Ago
14. Come Around
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With over 20 million albums sold worldwide, eight Top 5 singles, and three records that have broken the Top 5 on the Billboard 200, COUNTING CROWS are set to release their long awaited new album SATURDAY NIGHTS & SUNDAY MORNINGS. The record is the Crows" first studio album in almost 5 years, since the release of Hard Candy in 2002.
Given the churning tides of fashion and fate, five years can often feel more like an eternity in pop music. Yet Counting Crows" first studio album since 2002 bristles with an urgent energy that makes their creative restlessness almost palpable. The Crows haven"t so much reinvented their roots-conscious ethos here, as shrewdly divided it along the album title"s thematic lines: "Saturday night is when you sin," explains singer Adam Durwitz "and Sunday is when you regret. Sinning is often done very loudly, angrily, bitterly, violently." Thus, the band indulges itself in a raucously loose-limbed opening half that freewheels from the snarling Gil Norton/Steve Lillywhite produced blast at betrayal "1492," through a Stones-y, left-handed country-rock ode to "Los Angeles," and the irony of "Sundays"" no less pop-savvy angst. That mood shifts dramatically with the opening acoustic guitar notes of the lovely "Washington Square," heralding a mood of reflective redemption that characterizes the album"s closing chapter that showcases the band"s potent folk sensibility via the earthy studio aura of Modest Mouse/Iron & Wine producer Brian Deck. If it"s only half the long-rumored "unplugged" album so many Crows" fans have anticipated, Durwitz"s ever soulful lyrical intrigues, the songs" far-ranging moods and adventurous sonic textures - which encompass the spare, haunting beauty of "Le Ballet d"Or," and even a little of Brian Wilson"s harmonic glories on the close of "Anyone But You" - deliver so much more.
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