I reviewed the eponymous Tender Mercies album at Ryan’s Smashing Life. It’s a great record, and an honour to write my first piece for RSL. Go and read it, then have a browse of everything else Ryan and co are doing. If you subscribe now, you’ll get his near-legendary end-of-year best of list, which never fails to unearth something that I’ve missed during the year.
Asking me to write an objective review of anything by Counting Crows is like asking a child to review a bowl of ice cream. Sure, it might not be quite the right flavour and there’s never enough of it, but you’re unlikely to catch me looking a gift horse in the mouth. Given how rare new material from them is, us Crows fans are prone to fits of rapture when it does appear.
Having duly shot myself in the foot as far as my credibility is concerned, I shall now proceed to tell you that this is a stunning piece of filming, a powerful performance and a restatement of the profound emotional depth of these songs which you should all rush out and buy, immediately.* Don’t believe me? Watch the video.
What we have here is a performance of Counting Crows’ debut August and Everything After. Released in 1993 and an out-of-the-blue success the following year, it went on to sell more than 7 million copies. The original is a fragile, beautiful thing of sparse elegance and staggering, heart-rending power. It frequently crops up in critics’ lists of the best albums of that decade. They never matched it for commercial success or critical acclaim, and to some extent have been living in its shadow ever since. Still, as legacies go, it’s not a bad one to be stuck with.
Only three of this band actually appear on August as members of Counting Crows: Duritz, keyboard player Charlie Gillingham and guitarist Dave Bryson. David Immergluck has the unusual status of having played on the album as a session player before eventually joining the band full-time in 1999, whilst Dan Vickrey joined the band shortly after they finished August in time for the 16-month tour that accompanied it. Two drummers and one bass player have come and gone since then, but the incumbents are more than worthy. Jim Bogios in particular is a potent addition, matching the drama and dynamic range of the songs with effortless competence.
Given there are three times as many guitars as there were on the record, it is both impressive and near-miraculous that the trio manage to add to the songs without treading on each others’ notes. If you’ll excuse a moment’s wild rock-journalist-hyperbole, I have been known to compare the arrival of Immergluck in Counting Crows to the introduction of Don Felder to the Eagles. Both arrived first on “difficult” third albums and brought a more natural, instinctive rock voice to their respective bands, liberating the other guitarists to do more interesting things in the process. Immergluck also plays mandolin and pedal steel, broadening the palette further. If you’ve pressed play on the video at the bottom already, you are by now experiencing Immy’s pedal steel abuse; I’m fairly sure that doesn’t appear in whatever the pedal steel equivalent of A Tune A Day is. Actually, I’m pretty sure there’s no such thing and that all pedal steel players are mutants from the planet Zog, so little sense does that miraculous instrument make to the rest of us.
Vickrey is a charming country-rock guitarist, but he also has a wonderful, underappreciated voice; he nails the backing vocal on Time and Time Again, a beautiful echo of the lead. (Those of you who’ve seen Crows live know he also sings the good stuff on Goodnight Elisabeth and A Long December, and has a nice line in hats.)
Headgear notwithstanding, Bryson is without a doubt the coolest. Les Paul Juniors, Gretsch hollowbodies and a distinct lack of histrionics, Dave is just getting on with it. He has so many of the crucial little shapes and figures that make these songs, some of them no doubt dating back to when these songs were nothing more than him and AD at an open mic somewhere.
August opens with Round Here. Less a song than a creed to Crows fans (I have actually seen people, admittedly in the States, entering a state that closely resembles rapture in the middle of performances of Round Here…). It’s such a powerful song, such a sprawling musical object, that the album, and thus the show, runs the risk of struggling to follow it up. In this form, with Raining in Baltimore shoehorned into the middle, it runs to almost 12 minutes. There’s not much I can do to describe what they do to this song live, but seeing as you’ve already gone to the bottom of this post and pressed play on the YouTube video, I don’t need to. Ah, the wonders of modern technology… (more…)
I know, I know, I said I was going to write about lots of things, not just music, and certainly wasn’t going to post any more music things until I’d finally whipped a piece of fiction/prose/comment of some sort into shape, conceivably even the sort of narrative writing of which blogs are *supposed* to consist. (The fact that I may have only said these things to my self in no way lessens their validity, honest…)
But then this happened.
Back in NYC on a whim
Returning to New York was impulsive. Having checked out of my Baltimore B&B, I spent the morning wandering the city, trying and failing to find any internet access; I still had in my mind the idea that I wanted to go to Boston, but in all my searching I had found nowhere to stay. In the end, I gave up and fled back to New York. Nominally, this was because I knew where there was an affordable hotel and plentiful internet, but it was a flight back to familiarity on other levels as well.
I boarded a train in Baltimore, bound for Penn Station, New York, NY; does anyone ever get used to that? The immensity of that destination? Can anywhere, except perhaps Grand Central, be so storied, so laden with myth? Even in its current subterranean concrete-bound incarnation, it comes with excitement and anticipation as standard. (more…)
…was an allusion to a couple of songs, namely Mark Erelli’s wonderful “Baltimore”, and Counting Crows’ “Raining in Baltimore.” Erelli’s song I have alluded to before and is one of the great driving-all-night-to-see-my-girl songs, with the twist that on this occasion the girl in question is going to need a lot of convincing when he gets there. Probably best not to look (or smell) like you’ve just driven all night then, really. The latter is an unsung gem from August and Everything After, a paean to the joys and gut-wrenching impossibility of long-distance love. (more…)
Whither goest thou, America, in thy shiny car in the night?
Jack Kerouac, On The Road
There was a fantastic universal sense that whatever we were doing was right, that we were winning… And that, I think, was the handle — that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply PREVAIL. There was no point in fighting — on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave… So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark — that place where the wave finally broke and rolled back.
Hunter S. Thompson, Fear and Loathing in Las Vegas
The reader will have to excuse a little time travel, or at the very least time-compression, on the part of the author, as he posts from the past gradually catching up with reality. This, of course, means I will have to accelerate my writing if I wish to remain there and not get overtaken…
It is time to begin.
An essay on the USA? A travelogue? An exploration of the rebuilding exercise, the resuscitation of the American Dream. A diary, a prophecy, a statement of intent. The writings of an outsider with a curious but single-minded fascination. Another young man rattling round inside the great, mysterious, mystical America of his mind, determined to chase a few myths and discover a few more in the process. (more…)