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Saturday Nights & Sunday Mornings

54 customer reviews

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Counting Crows release their highly-anticipated seventh studio album titled Somewhere Under Wonderland through Virgin EMI in the UK. Somewhere Under Wonderland marks the band’s first original material since Saturday Night & Sunday Mornings in 2008.

Known for creating unique and innovative concerts and consistently ranked as one of the top live bands performing ... Read more in Amazon's Counting Crows Store

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Saturday Nights & Sunday Mornings + Somewhere Under Wonderland + Underwater Sunshine (Or What We Did On Our Summer Vacation)
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Product details

  • Audio CD (24 Mar. 2008)
  • Number of Discs: 1
  • Label: Polydor Group
  • ASIN: B000WM4UG6
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (54 customer reviews)
  • Amazon Bestsellers Rank: 17,421 in Music (See Top 100 in Music)

Product Description

Product Description

COUNTING CROWS Saturday Nights & Sunday Mornings (Factory Sealed 2008 German 15-track CD album which is split into two distinct themes with the first encompassing the Saturday Nights part [produced by Gil Norton] presenting a descent into the darkness losing your sense of self through drink & medications; and Sunday Mornings [produced by Brian Deck] is about the realisation of the next day the hangover so to speak its not so much redemption as understanding why Saturday Night happens and whatnext?; includes the download-only singles Washington Square & You Cant Count On Me housed in a card gatefold picture sleeve with an extensive picture / lyric booklet)

BBC Review

Counting Crows' fifth studio album in 13 years will cause a big sigh of relief from fans around the world. Five years on from their last studio album, Hard Candy, and two from a live album of the tour that supported it, the band's delayed album of hellish and heavenly pleasures is finally released. Saturday Nights... was put back by the wise re-release of the deluxe edition of their classic - August And Everything After. This savvy move has reminded us why the band were so huge in the first place. But one listen to this album shows you, once again, how damned efficient they are at summoning up the spirit of an age that cared more about music than image.

The album is constructed in two halves. The first (Saturday Nights) being filled with the rocking, loud and debauched 'sinning' songs; the second (Sunday Morning) being the quiet acoustic atonement and redemption. It's an interesting idea that almost holds together.

The album rips right into 1492, with its tales of seedy Italian nightclubs. The band used to be compared to the freewheeling poetic rock soul of Van Morrison, but these days the touchstones seem to be early '70s Stones and late Beatles with even a hint of the latino-inflected soundscapes of the West Coast (especially Sundays). Cowboys, with its strident keyboards even has a hint of Springsteen. Adam Duritz's warbling voice makes you believe that he's drowning in a pit of self doubt and the band sound genuinely enlivened, with all three (yes, three) guitarists pulling out all the stops.

The second half is less consistent. While Washington Square and Anyone But You are filled, again, with those beautiful hints of lazy Californian vistas, too often the band rely on a standard chorus-repetition-until-it-seems-to-be-meaningful-approach. Duritz emotes angst and worry, but too often the predictable arrangements stymie the sense of resolution that this suite of songs is meant to imply.

In the end it's a concept that has obviously fired the band's creative spark again. We may not all relate to the self-destructive urge that pushes Duritz's muse to the edge, but as a straight-ahead rock album it's still got a lot to offer. To a UK audience, for whom even the mainstream includes the Arctic Monkeys and their ilk, this may seem a little too steeped in a '70s FM vibe, but on their own terms it's mostly a firm return to form. --Chris Jones

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Customer Reviews

3.9 out of 5 stars

Most Helpful Customer Reviews

21 of 21 people found the following review helpful By JDO on 29 Mar. 2008
Format: Audio CD
For starters, I think Counting Crows are one of the most underated bands of the last fifteen years. Their first two albums- 'August and everything after' and 'Recovering the Satellites'- are masterpieces. The sheer excellence of these first two records has made every following CC release struggle to live up to expectations. 'This Desert Life'(1999) and 'Hard Candy' (2002) are both great records. It's just that they are not as great as the first two.

So, 'Saturday Nights and Sunday Mornings' has a lot to live up to. This is especially the case given that it is their first new album in almost six years. Things start well with '1492' and 'Hanging Tree' both of which are from the rockier end of the CC spectrum. However, by the time you get to 'Los Angeles' a nagging thought starts to rear its ugly head- the Counting Crows have done all of this before. As Duritz sings the chorus of "If you see that movie star and me" you start to get the feeling you have heard it all before. Things pick up again however with the rather excellent 'Cowboys' before the second, quieter half of the album gets going...

... and that's where the feelings of deja vu starts to come in spades. At times it almost seems as though Duritz is just going through the motions. He is trying to sound forlorn for the sake of sounding forlorn. The passion and real heart wrenching angst, so prevalent on their first four albums, seems to have gone a bit stale. When Adam sings "Come back to me" on 'On a Tuesday in Amsterdam Long Ago' you cant help but feel it is an inferior re-write of the rather amazing 'Raining in Baltimore' from their debut record. It just sounds like he is going through the motions and not really feeling it.
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4 of 4 people found the following review helpful By A Modern Prometheus on 29 Mar. 2008
Format: Audio CD
Don't listen to the hype. For such a great band expectations are very high but regrettably this album is at best mediocre. I'm sad to say it but this is one of their least accomplished albums- where are the hooks and gemlike songcraft of yesteryear? It's not that the album is bad, it's just that it's simply unremarkable. I think the real acid test is to ask yourself- would any of these tracks get on to your personal 'Best of Counting Crows' playlist? I'm not sure I would add any to my favourites.

[My favourite CC tracks in no particular order: Round Here, Mrs Potter's Lullaby, Butterfly in Reverse, Amy Hit The Atmosphere, Miami, Omaha, A Long December, Hangin' Around, American Girls, Mr. Jones, Hard Candy, Rain King, Holiday In Spain, Raining In Baltimore, All My Friends, Black And Blue, A Murder Of One, Why Should You Come When I Call?]
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2 of 2 people found the following review helpful By J. Jenkins on 10 April 2009
Format: Audio CD
Counting Crows reputation as an unadventurous, middle of the road rock band belies a track record of subtle reinvention for those who wish to hear it. Over the course of four previous albums they've gone from purveyors of coffee table americana, to a grunge band, to spacey, indie rockers, to something approaching pure pop. To their credit, album five is the first time they've really repeated themselves.

Over the course of what frontman Adam Duritz says is 'really two albums' they essentially try to repeat two of their past glories; Recovering the Satellites on side one's Gil Norton produced 'rock' half, August and Everything After and side two's mournful ballad collection. You can see why they've done it - 'Satellites' is probably their best album and 'August...' their best loved. But there's something ever so slightly contrived about it; the fact that they've only managed to come up with 6 'rock' numbers on a 14-15 track album (one of which could just as easily fit on the Sunday Mornings section) suggests they came up with the concept before actually sitting down to write any songs.

This is more a criticism of sequencing than anything else. From the epic, widescreen Cowboys, to the world weary travelogue of Washington Square and across the album, these are mostly excellent songs. On A Tuesday in Amsterdam Long Ago is probably the rawest distillation of romantic longing Duritz has yet put his name to.

In fact, Duritz's angst can get a little alienating at times here. On songs like LA he's basically bemoaning the continual imposition of having to date a string of actresses, models and the entire cast of Friends. Ironically, he's at his most likeable when he portrays himself as a jerk; songs like the caustic You Can't Count on Me are potent because he is so willing to paint himself in an unflattering light. And yet he still gets the girls. Is it the hairstyle?
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1 of 1 people found the following review helpful By J. E. Daniel on 26 Mar. 2008
Format: Audio CD
Its' been 5 years since they last released a record, (2003's Hard Candy) since then they have released a greatest Hits, a live CD & a reissue of their debut "August & Everything After"
Fans were wondering whether singer/songwriter Duritz still had it in his locker to bring out a new record after years of struggling to cope with fame.
Anyway the band are back & back to form too!
Their album is entitled "Saturday Nights & Sunday Mornings"
Saturday Nights being the descending into the darkness, losing a battle that can't be won. With it's electrifying riffs & it's raging angst, it's unfortunate it only features 6 songs.
The second part of the record "Sunday Mornings" is the day after, the events that require turning round, the heartache of incorrect decisions.
The album transcends through Duritz's use of creating poetic lyrics with pop overtones that really drive the record home.
Despite Sunday Mornings having an extra 2 tracks, it's Saturday Nights that steals the show.
Tracks such as "Hangin Tree" with it's Nirvana - esque guitar riffs & "Los Angeles (Which sounds a lot like Ryan Adam's Rescue Blues) explode out of our stereos & therefore engages us into the thrilling frantic pace that's set.
Sunday Mornings feels rather bleak compared to Saturday Nights, but it offers us a chance to explore through Duritz's imagery, in which his narratives & the bands gentle use of strings & piano led pop contrast the record & gives it that ultimate divide.
The first single "You Can't Count On Me" is an uplifting tale of memories, "When I Dream Of Michelangelo" is about seeing the world through the Sistine Chapel & the final track (Not the bonus) "Come Around" is an infectious piece of rousing pop which ranks among their finest songs.
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