Question: Did Bruce Springsteen or Adam Duritz write the following verse?
Answer: Neither, but either could have. Yet while one artist is regarded as one of the best songwriters ever to strap on a guitar, the other is considered by many to be the road spike that caused grunge’s fatal crash. This is a grave injustice, and it’s time for a retrial.
Overwrought, histrionic and verbally diarrhetic are adjectives which could be used to dismiss either man’s craft, just as poignant, powerful and brilliantly textured could be wielded as praise. None of these descriptions is necessarily inaccurate; it’s all in the eye of the
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And make no mistake about it: August and Everything After, the band's 1993 debut, is one of the best albums of the past 30 years. Had Springsteen recorded “Raining in Baltimore,” “Sullivan Street,” “Perfect Blue Buildings,” “Anna Begins,” and “Omaha,” they’d be considered American classics. But because Duritz and Counting Crows rocked those tracks just before Kurt Cobain took his dirt nap, they’re not to be spoken of again.
Yet here we are, more than 20 years later, and Counting Crows is still making music that sounds energized and adventurous. Their latest album, Somewhere Under Wonderland, is no August or Recovering the Satellites, but it’s admirably
Perhaps Counting Crows’ most polarizing song is its gutsy reimagining of Joni Mitchell’s sacred “Big Yellow Taxi,” supposedly made even more despicable by the presence of Vanessa Carlton’s girly harmonies. For naysayers, Saint Joni was paradise, and Duritz was the fucking parking lot. But rock’s solid and sand isn’t, and if you don’t believe that, just wait until Counting Crows headlines Bonnaroo in 2030.
Counting Crows, with Citizen Cope and Hollis Brown, 7 p.m. Thursday, July 30, at Bayfront Park Amphitheatre, 301 Biscayne Blvd., Miami. bayfrontparkmiami.com, 305-358-7550 Tickets cost $30.75 to $70.25 via ticketmaster.com.