Mar 3, 2021Liked by Mitch Blum, CJ Kaplan, Ken Warshaw
I'm with Ken, Don & Mitch here—CJ is the insane outlier. And Ken, you more than made up for your Zeppelin IV comments with this one...:)
No one asked, but surrrre, I'll chime in because I'm that enthusiastic reader/fan who responds with WAY too many wordsI
If you look at Counting Crows' entire catalog, I'd actually argue they have an even more robust, likable & sustaining (albeit not "critically" or "hipster'ally" acclaimed) body of work than Nirvana, Soundgarden, Alice In Chains, Smashing Pumpkins, and the other early '90's mope-rockers to whom they're so often derisively compared. And frankly, when put up against flimsy, hollowed-out "GAP rockers" like Toad, Hootie—although Darius is the real deal as a country artist & I'll fight you—Bush, Matchbox 20, and especially the ridiculous and laughably un-self-aware Gin Blossoms**, Counting Crows ARE Nirvana, Soundgarden & Alice In Chains. And to early '90's punchlines like Spin Doctors and Sugar Ray, they're the f'n Beatles.
Yes, people ridiculed Duritz endlessly as a poppy, saccharine (albeit ironically gloomy), un-self-aware, dad bod-sporting poseur; it was "cool" to say you hate/don't respect Duritz & CC despite their (A) album sales and (B) inarguably cemented place in American culture at a certain time/place saying LOTS of people love and even respect them. (Think Chris Martin before Chris Martin. Oh, you "hate Coldplay," do ya, cool guy? So why do you know all their lyrics & binge 'em when you're safely alone commuting in thick Pike traffic, probably weeping? Anyway...)
Duritz & Co. was even dissed in perhaps THE most ''90's" film of the entire decade—CLUELESS—when Cher (Silverstone) smugly mocks Paul Rudd for listening to super serious "complaint rock": CC's cover of Psychedelic Furs' "Ghost in You."
Knockout suckerpunch, Amy Heckerling!
But I 100% agree with Ken & Mitch's use of "honest" and "sincere." THEY JUST WERE. These guys all knew their limits as musicians (and they were/are very good ones), harnessed their strengths (and Duritz' TMZ love life) & blended it all perfectly in a thick, semi-fleeting fame stew. Duritz even seemed honestly bemused by Cox, Aniston et al actually wanting to bone him, as if he also knew/thought, like LITERALLY EVERYONE IN THE WORLD did, that he was little more than Judd Nelson in a campy dreadlock wig.
And from personal experience, I also say they were especially great live. Like Springsteen-level endurance and work ethic. A Dylan-esque no-shits-given about what songs they played and why and whether it was what we all EXPECTED. That is, they'd refreshingly re-arrange/strip down a lot of their hits and mix up/fuck with their set lists every time out (Dead/jam band-style?) so they didn't sound EXACTLY like they did on albums or radio...an unsatisfied, not-mailing-it-in live creativity that pissed some people off even more—JUST PLAY THE FACKIN' SAWWWWWNG, YOU FACKIN' PRICKS! (yes, I saw them at Masshole-filled Brandeis in '97)—but sorta told me that they still actually CARED, still wanted to surprise people despite their tabloid popstar titles, and weren't content to just sleepwalk through shows like a lot of 'name' acts did/do.
Oh, and "A Long December" is still their best song. Again, fight me. But the world could have done without "Hanginaround," admittedly.
Bottom line, I think their debut-followup 1-2 punch of August & Satellites, while not AS mind-blowing or "cool" to revere & deconstruct, can certainly be mentioned up there with some of the best '90's 1-2's like Nevermind & In Utero (no, I don't count Bleach); Ten & Vs.; Moneymaker & Southern Harmony; Pablo Honey & The Bends; Gish & Siamese Dream; Etc.
(*Unwanted sidebar re: Gin Blossoms: FUCK THOSE GUYS. I still pride myself on predicting, out loud, while everyone was slobbering over their debut and calling them the next REM and Replacements....WUT?!?!...that they would be one-and-done. Because these dipshits, after their main lyricist/songwriter, Doug Hopkins delivered "New Miserable Experience" to them on a fucking platter—a great album, period—they kicked him out due to his debilitating booze issues. No one likes an unpredictable, annoying drunk. Fine. He was a problem.
But what if, say, Grohl and Novoselic had gone all holier-than-thou & kicked Cobain out for his heroin use right after he birthed "Nevermind" for them? What if Gorman, Rich, Colt & Cease said, "Chris, you're a real dick, you're out" right after they finished Money Maker? These other Blossom turds got all cocky after *Hopkins' songs* started to make them famous outside of fucking Tuscon and thought they were jusssssst fiiiiiine without him. They weren't. So fuck 'em: because they also bullied him into signing over half his publishing rights/royalties to the lucky hack who replaced him on tour, Scott Johnson, who was also credited with Hopkins' lead parts on NME without playing a single goddamn note. I know it's a weird band/thing to hate...but I STILL HATE the remaining Gin Blossoms and am glad they instantly failed on their own. And I hope they're all working at f'n Quiznos, if employed at all. Rant over....)
First of all, that was an A+ rant. Started out almost demure with PG swear abbreviations (f'n) and winds itself into full-blown fuck, fucking, fackin' (Boston accent implied) and fuck 'em. I could almost see you working yourself into a lather, eyes bulging, spit flying, hands all but punching the keyboard. Bravo!
Second, if you had told me that this album and/or band out of everything we've covered so far would elicit this kind of Hall of Fame response, I would have metaphorically laughed in your face. Again, bravo.
Third, if you read through the pitch and all the responses, you will note that I'm the ONLY one who didn't mention Duritz' looks/lyrics/voice/paramours. I didn't even say the dude's name. I actually commented on the music like it was a, ya know, music newsletter. And the music, unlike his social life, lacked excitement.
Fourth, I would rather listen to the entire Counting Crows catalog on repeat than a single Coldplay or Radio Head song. And I think my track record backs that up.
Fifth, I'm with you on the Gin Blossoms. Fuck 'em.
Bravo! I greatly enjoyed your rant. Well done. Ken can address the Gin Blossoms as he grew up with them in Arizona. That said, I tried to tell him that he'd have more success selling "Recovering the Satellites" - it rocks a lot harder than AAEA.
They used to play at this little dive bar every week called Long Wongs. If memory serves me correctly (it probably doesn't) I believe the specials included $3 domestic pitchers and 10 cent wings. Not a bad tuesday night...or was it wednesday.
August was a what I call 'a good listen' back in those years. A catchy and well produced CD. Rain King had held up over time: just a fun song to sing out loud.
I'm with Ken, Don & Mitch here—CJ is the insane outlier. And Ken, you more than made up for your Zeppelin IV comments with this one...:)
No one asked, but surrrre, I'll chime in because I'm that enthusiastic reader/fan who responds with WAY too many wordsI
If you look at Counting Crows' entire catalog, I'd actually argue they have an even more robust, likable & sustaining (albeit not "critically" or "hipster'ally" acclaimed) body of work than Nirvana, Soundgarden, Alice In Chains, Smashing Pumpkins, and the other early '90's mope-rockers to whom they're so often derisively compared. And frankly, when put up against flimsy, hollowed-out "GAP rockers" like Toad, Hootie—although Darius is the real deal as a country artist & I'll fight you—Bush, Matchbox 20, and especially the ridiculous and laughably un-self-aware Gin Blossoms**, Counting Crows ARE Nirvana, Soundgarden & Alice In Chains. And to early '90's punchlines like Spin Doctors and Sugar Ray, they're the f'n Beatles.
Yes, people ridiculed Duritz endlessly as a poppy, saccharine (albeit ironically gloomy), un-self-aware, dad bod-sporting poseur; it was "cool" to say you hate/don't respect Duritz & CC despite their (A) album sales and (B) inarguably cemented place in American culture at a certain time/place saying LOTS of people love and even respect them. (Think Chris Martin before Chris Martin. Oh, you "hate Coldplay," do ya, cool guy? So why do you know all their lyrics & binge 'em when you're safely alone commuting in thick Pike traffic, probably weeping? Anyway...)
Duritz & Co. was even dissed in perhaps THE most ''90's" film of the entire decade—CLUELESS—when Cher (Silverstone) smugly mocks Paul Rudd for listening to super serious "complaint rock": CC's cover of Psychedelic Furs' "Ghost in You."
Knockout suckerpunch, Amy Heckerling!
But I 100% agree with Ken & Mitch's use of "honest" and "sincere." THEY JUST WERE. These guys all knew their limits as musicians (and they were/are very good ones), harnessed their strengths (and Duritz' TMZ love life) & blended it all perfectly in a thick, semi-fleeting fame stew. Duritz even seemed honestly bemused by Cox, Aniston et al actually wanting to bone him, as if he also knew/thought, like LITERALLY EVERYONE IN THE WORLD did, that he was little more than Judd Nelson in a campy dreadlock wig.
And from personal experience, I also say they were especially great live. Like Springsteen-level endurance and work ethic. A Dylan-esque no-shits-given about what songs they played and why and whether it was what we all EXPECTED. That is, they'd refreshingly re-arrange/strip down a lot of their hits and mix up/fuck with their set lists every time out (Dead/jam band-style?) so they didn't sound EXACTLY like they did on albums or radio...an unsatisfied, not-mailing-it-in live creativity that pissed some people off even more—JUST PLAY THE FACKIN' SAWWWWWNG, YOU FACKIN' PRICKS! (yes, I saw them at Masshole-filled Brandeis in '97)—but sorta told me that they still actually CARED, still wanted to surprise people despite their tabloid popstar titles, and weren't content to just sleepwalk through shows like a lot of 'name' acts did/do.
Oh, and "A Long December" is still their best song. Again, fight me. But the world could have done without "Hanginaround," admittedly.
Bottom line, I think their debut-followup 1-2 punch of August & Satellites, while not AS mind-blowing or "cool" to revere & deconstruct, can certainly be mentioned up there with some of the best '90's 1-2's like Nevermind & In Utero (no, I don't count Bleach); Ten & Vs.; Moneymaker & Southern Harmony; Pablo Honey & The Bends; Gish & Siamese Dream; Etc.
(*Unwanted sidebar re: Gin Blossoms: FUCK THOSE GUYS. I still pride myself on predicting, out loud, while everyone was slobbering over their debut and calling them the next REM and Replacements....WUT?!?!...that they would be one-and-done. Because these dipshits, after their main lyricist/songwriter, Doug Hopkins delivered "New Miserable Experience" to them on a fucking platter—a great album, period—they kicked him out due to his debilitating booze issues. No one likes an unpredictable, annoying drunk. Fine. He was a problem.
But what if, say, Grohl and Novoselic had gone all holier-than-thou & kicked Cobain out for his heroin use right after he birthed "Nevermind" for them? What if Gorman, Rich, Colt & Cease said, "Chris, you're a real dick, you're out" right after they finished Money Maker? These other Blossom turds got all cocky after *Hopkins' songs* started to make them famous outside of fucking Tuscon and thought they were jusssssst fiiiiiine without him. They weren't. So fuck 'em: because they also bullied him into signing over half his publishing rights/royalties to the lucky hack who replaced him on tour, Scott Johnson, who was also credited with Hopkins' lead parts on NME without playing a single goddamn note. I know it's a weird band/thing to hate...but I STILL HATE the remaining Gin Blossoms and am glad they instantly failed on their own. And I hope they're all working at f'n Quiznos, if employed at all. Rant over....)
Couple of things:
First of all, that was an A+ rant. Started out almost demure with PG swear abbreviations (f'n) and winds itself into full-blown fuck, fucking, fackin' (Boston accent implied) and fuck 'em. I could almost see you working yourself into a lather, eyes bulging, spit flying, hands all but punching the keyboard. Bravo!
Second, if you had told me that this album and/or band out of everything we've covered so far would elicit this kind of Hall of Fame response, I would have metaphorically laughed in your face. Again, bravo.
Third, if you read through the pitch and all the responses, you will note that I'm the ONLY one who didn't mention Duritz' looks/lyrics/voice/paramours. I didn't even say the dude's name. I actually commented on the music like it was a, ya know, music newsletter. And the music, unlike his social life, lacked excitement.
Fourth, I would rather listen to the entire Counting Crows catalog on repeat than a single Coldplay or Radio Head song. And I think my track record backs that up.
Fifth, I'm with you on the Gin Blossoms. Fuck 'em.
YES, I got Cj to say fuck. Mission accomplished. :)
You should hear what comes out of his mouth when he shanks a 7 iron into the water!
There are no 7 irons with hickory sticks. It's officially called a "mashie niblick".
Ironically, mashie niblick is also what Adam Duritz called his wig.
Bravo! I greatly enjoyed your rant. Well done. Ken can address the Gin Blossoms as he grew up with them in Arizona. That said, I tried to tell him that he'd have more success selling "Recovering the Satellites" - it rocks a lot harder than AAEA.
Agree with you 100% on Gin Blossoms post-NME era. (Ed Note) they're from Tempe, not Tucson.
YES, Tempe....I knew it was one of those Arizona "T" cities where bands shouldn't be from.
They used to play at this little dive bar every week called Long Wongs. If memory serves me correctly (it probably doesn't) I believe the specials included $3 domestic pitchers and 10 cent wings. Not a bad tuesday night...or was it wednesday.
To C.J.s credit, I went to a Hootie and the Blowfish concert and there was definitely a larger-than-normal Gap vibe.
I've never been sadder to be right about something.
Sad boy, you are now qualified to write a Counting Crows album!
August was a what I call 'a good listen' back in those years. A catchy and well produced CD. Rain King had held up over time: just a fun song to sing out loud.