2008 Woodie Awards
"Saturday Nights and Sunday Mornings" Strong, Refined
CD Review
Erik Emanuelson
Issue date: 4/3/08 Section: Focus
Few can mention any recent Counting Crows efforts without drawing a comparison to their 1994 debut "August and Everything After." Because of this, the band has had trouble escaping the stigma of being past their prime-a prime that ironically came with their first album. Since then, all of their albums, with the possible exception of 1996's "Recovering the Satellites," have been ignored. This turns out to be quite a shame, because the band has released a lot of quality material since their debut. "Saturday Nights & Sunday Mornings" is no exception.
After an extended hiatus since 2002's "Hard Candy," possibly the band's weakest album, Counting Crows have returned with a focused and consistent effort. "Saturday Nights & Sunday Mornings" is both hard-hitting and delicate, rarely venturing into the middle ground. It seems that Adam Duritz is aware that the band flourishes best at extremes; this is evident in the actual layout and philosophy of the album.
While the first half of the album-"Saturday Nights"- is comprised of aggressive songs of sin and indulgence, the latter half-"Sunday Mornings"- offers introspective reflections and critiques on the events that influenced the first. Duritz continues as the self-deprecating,yet self-involved poet that listeners have come to either love or hate. Despite being in his 40s, Duritz continues to write about his struggles with fame, attention, and self doubt. His obsession with this possibly tired theme may be one of the album's shortcomings. Despite the antiquated themes, Duritz still amazes in his ability to make the day-to- day seem beautiful.
Of the first half of the album, the songs "1942" and "Insignificant" are works of lyrical mastery and polished guitar playing. The last song of "Saturday Nights." "Cowboys" is without a doubt a highlight. Duritz reaches for the ceilings of his vocal range and offers an uncharacteristic yet climactic scream, expressing his frustration saying, "You will look at me / Or I am not anything," in a manner that would send shivers down anyone's spine.
After an extended hiatus since 2002's "Hard Candy," possibly the band's weakest album, Counting Crows have returned with a focused and consistent effort. "Saturday Nights & Sunday Mornings" is both hard-hitting and delicate, rarely venturing into the middle ground. It seems that Adam Duritz is aware that the band flourishes best at extremes; this is evident in the actual layout and philosophy of the album.
While the first half of the album-"Saturday Nights"- is comprised of aggressive songs of sin and indulgence, the latter half-"Sunday Mornings"- offers introspective reflections and critiques on the events that influenced the first. Duritz continues as the self-deprecating,yet self-involved poet that listeners have come to either love or hate. Despite being in his 40s, Duritz continues to write about his struggles with fame, attention, and self doubt. His obsession with this possibly tired theme may be one of the album's shortcomings. Despite the antiquated themes, Duritz still amazes in his ability to make the day-to- day seem beautiful.
Of the first half of the album, the songs "1942" and "Insignificant" are works of lyrical mastery and polished guitar playing. The last song of "Saturday Nights." "Cowboys" is without a doubt a highlight. Duritz reaches for the ceilings of his vocal range and offers an uncharacteristic yet climactic scream, expressing his frustration saying, "You will look at me / Or I am not anything," in a manner that would send shivers down anyone's spine.
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