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Format: CD
Oct 1996
Record Label: Geffen Records (USA)
Recording Type: Studio
UPC: 720642497524 |
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Track Listing
1. Catapult
2. Angels of the Silences
3. Daylight Fading
4. I'm Not Sleeping
5. Goodnight Elisabeth
6. Children in Bloom
7. Have You Seen Me Lately?
8. Miller's Angels
9. Another Horsedreamer's Blues
10. Recovering the Satellites
11. Monkey
12. Mercury
13. Long December, A
14. Walkaways
Album Notes
Counting Crows: David Bryson (guitar, dobro, tambourine, vocals); Dan Vickrey (guitar, vocals); Adam Duritz (piano, Wurlitzer piano, tambourine, vocals); Charles Gillingham (Hammond B-3 organ, piano, Mellotron, Wurlitzer piano, accordion, harmonica, vocals); Matt Malley (electric & acoustic basses, vocals); Ben Mize (drums, tambourine, light bulbs, Zippo lighter, vocals).
Additional personnel: David Immergluck (pedal steel guitar, octave mandolin); Marvin Etzioni (mandolin); Mark Phythian (programming).
Counting Crows: David Bryson (vocals, guitar, dobro, tambourine); Dan Vickrey (vocals, guitar); Charles Gillingham (vocals, piano, harmonica, accordion, Hammond B-3 organ, Mellotron, Wurlitzer piano); Adam Duritz (vocals, piano, Wurlitzer piano, tambourine); Matt Malley (vocals, electric & acoustic basses); Ben Mize (vocals, drums, tambourine, light bulbs, Zippo lighter).
Additional personnel: David Immergluck (pedal steel guitar, octave mandolin); Marvin Etzioni (mandolin); Mark Phythian (programming).
Three years after AUGUST AND EVERYTHING AFTER paved the Triple A way for the likes of Hootie & The Blowfish, Counting Crows take a more aggressive tack with their sophomore release. As with the debut, the sound takes its cue from singer Adam Duritz's introspective lyrics, but Duritz deals with especially weighty topics this time--the ups and downs of fame are on his mind now--and the band's approach is more slashing than subdued.
The yearning "Catapult" opens the record with a quavering guitar and Mellotron, but it gives way to the crashing cymbals, raging guitar and screaming organ of "Angels Of The Silences," a song about rejection. Even the strings on "I'm Not Sleeping" attack with an angry urgency before they are finally consumed by Dan Vickrey's squalling guitar. The Counting Crows showed off their bark on their debut; now they're showing off their bite.
Three years after AUGUST AND EVERYTHING AFTER paved the Triple A way for the likes of Hootie & The Blowfish, Counting Crows take a more aggressive tack with their sophomore release. As with the debut, the sound takes its cue from singer Adam Duritz's introspective lyrics, but Duritz deals with especially weighty topics this time--the ups and downs of fame are on his mind now--and the band's approach is more slashing than subdued.
The yearning "Catapult" opens the record with a quavering guitar and Mellotron, but it gives way to the crashing cymbals, raging guitar and screaming organ of "Angels Of The Silences," a song about rejection. Even the strings on "I'm Not Sleeping" attack with an angry urgency before they are finally consumed by Dan Vickrey's squalling guitar. The Counting Crows showed off their bark on their debut; now they're showing off their bite.
Industry Reviews
4 Stars (out of 5) - ...serious, worthy ambitions drive the Crows, ambitions that they largely achieve on their second album....for the most part, the Crows' richly textured folk-rock arrangements...remain intact....Counting Crows are here to stay.
Rolling Stone (11/28/1996)
6 (out of 10) - ...in the neo-classic sweepstakes the Crows beat Hootie's FAIRWEATHER bummer because they paint a much richer backdrop for their frontman....a lot of spacy country-rock inflections, and some of that earnest, driving pomp...
Spin (11/01/1996)
4 Stars (out of 5) - ...serious, worthy ambitions drive the Crows, ambitions that they largely achieve on their second album....for the most part, the Crows' richly textured folk-rock arrangements...remain intact....Counting Crows are here to stay.Spin (11/96, p.122) - 6 (out of 10) - ...in the neo-classic sweepstakes the Crows beat Hootie's FAIRWEATHER bummer because they paint a much richer backdrop for their frontman....a lot of spacy country-rock inflections, and some of that earnest, driving pomp...
Rolling Stone (11/28/1996)
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