April 27, 2025 • 46 mins
On this episode of Adventures In Vinyl, Adam and I discuss yet another debut studio album by a band whose name was derived from a british nursery rhyme called “One for Sorrow”. That band is Counting Crows and the album is August and Everything After.
Song of The Week!
At the Stars - Better Than Ezra - How Does Your Garden Grow
That Prince - Cloud Nothings - Final Summer
Stump The Barron!
Careless Whisper (feat, Kenny G.) - Train - Greatest Hits
Counting Crows - August and Everything After
Genre: Alternative Rock
Release Date: September 14, 1993
Producer(s): T Bone Burnett
Label: Geffen
Length: 51:42
Number of Tracks: 11
For more information on the band Counting Crows visit their website is www.countingcrows.com. If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Song of The Week!
At the Stars - Better Than Ezra - How Does Your Garden Grow
That Prince - Cloud Nothings - Final Summer
Stump The Barron!
Careless Whisper (feat, Kenny G.) - Train - Greatest Hits
Counting Crows - August and Everything After
Genre: Alternative Rock
Release Date: September 14, 1993
Producer(s): T Bone Burnett
Label: Geffen
Length: 51:42
Number of Tracks: 11
For more information on the band Counting Crows visit their website is www.countingcrows.com. If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On this episode of Adventures in Vinyl, Adam and I
discussed you had another debut studio album by a band
whose name was derived from a British nursery rhyme called
One for Sorrow. That band is Counting Crows and the
album is August and everything after.
Speaker 2 (00:38):
What is up?
Speaker 1 (00:39):
And welcome to another episode of Adventures in Vinyl. I'm
Todd warded with me as my co host Adam Barron.
What's up, Adam Man?
Speaker 2 (00:46):
So I had a birthday this next week, which was
Fay birthday, precisely one week before mine. Was another gentleman
in the room's birthday, Yeah, after cod Ward. Yeah, did
you do anything special on your birthday? Just out?
Speaker 3 (00:57):
Yeah, we had a nice party. You were there, of course.
Speaker 2 (01:01):
Yeah. I went to the World Ground about here in Conway.
I had some beers. Yeah, I like the Dark Home,
the Donnie dark Holme beer that was round Argo. Yeah,
I like that beer. Yeah. They have several good ones there.
I mean basically they have as I'm sure you saw,
they have a craft brewery and house. Yeah. That was
been cool. Yeah.
Speaker 3 (01:16):
Danielle Rezu reserved the Big Room their room and.
Speaker 2 (01:20):
We had what twenty eight thirty people something like that
in there. Over the course of the night, it was Yeah,
it's a lot of fun. Man. Yeah, had great time.
Speaker 1 (01:28):
How about you, Uh, well, you know we did really
low key just that weekend I did. Record store Day
was the twelfth.
Speaker 2 (01:36):
Yeah, so I you know, I haven't been record shopping
a while, so it's like, hey, I'll go to record
store Day. So I went to like Control Records in
Little Rock, so it's right off in the Heights area.
They opened at nine am. I got there roughly about
like eight thirty eight forty and the line was pretty long,
so it took me about forty five minutes to.
Speaker 1 (01:54):
Get into like a lot, a lot, a lot of people.
Really small store, it's been a bit is for around
six years. The owner west really cool dude. Well here's
what I really liked. He had everyone lined up, He
had all the stuff that people are looking for kind
of out, and he would come out when the inventory
level would change and would talk to so some people
was like, hey, I'm out, dude, I'm sorry, but he
(02:15):
would like, hey, Arkansas CD Record Store Music Exchange opens
up at noon, but there are like ten something they're
doing a lottery so you don't have to wait in
line nearly you can just go get a ticket, you know.
So they're doing stuff to could kind of control the
crowd to get everybody. But I think it overall good turnout.
It was interesting is like everyone was looking for, you know, a.
Speaker 2 (02:34):
Lot of swift type of stuff, specialized stuff and the
stuff that like you and I would go after. It
was very few people.
Speaker 1 (02:40):
That's great, and you know the the what was cool
is like I met a dude named Steve while were
writing in line. So it's older, older dude, and we
were both just talking about albums and he released he
was really looking for better than Ezra, How does Your
Garden Grows? First time they released that on vinyl. Yeah,
and so we I was like, oh, well, you know
if you find in There was that post Malone album
(03:01):
where the Nirvana tribute, which is totally cool. It's literally
just the performances record on the album, no intro, It's
just there, it is. It's totally cool. They had, like
I bought a lot of stuff I need to do,
like the v log thing my record store day hall,
because I ended up going to two places and I
ended up getting a copy like Loveless Nice, which was good.
(03:22):
So I added stuff to the collection, didn't get a
couple of things I was looking for. But anyway, this
guy Steve was looking for that album. It was like
his thing and they didn't have it at Control. I
ended up at ARCD Records of.
Speaker 2 (03:33):
Music Exchange and ended up getting getting that album because
it was there. So like for my song of the week,
you know, this one goes out to that guy Steve.
This is alf the Stars, which was the second single
off the album, How does Your Garden Grove buy.
Speaker 1 (03:49):
New Orleans Own better than Ezra? This single peak to
number seventeen on the Billboard Modern Rock Charts following the
release of the album. They were released by their label
Whattris Yeah, which is so crazy to me, man, when
you think about how many bangers those guys put out there. Yeah, well,
this is probably one of the weaker albums I think
as I was. I bought it because it was the
first album. Yah yeah, and I like better than I
(04:11):
liked the album. That's why I bought it. It was
the first time, so like, yeah, you know, it's worse
some stuff.
Speaker 2 (04:16):
Yeah, we've seen them a few times. I remember seeing
them at the Greek Theater at you of a Yeah,
I mean I've seen them like a ton of times.
I haven't seen them probably in the past ten years.
One of mister Baker's favorite bands. One of mister Baker's
favorite bands. I think I saw it several times with
Doddy Bot. It's not surprising.
Speaker 1 (04:31):
Yeah, man, actually have a better Nozer story on Crowder.
When we went, I think you were. I was probably overseas.
You were probably overseas.
Speaker 2 (04:39):
But a bunch of us went to go see at
the uh not the light Bulb Club, Jr's the group upstairs.
Speaker 1 (04:48):
No no, no, it was the one Optics and behind George's.
Speaker 2 (04:52):
Oh goodness, the Powerhouse. No no no, it was right
before power was, right off the train track. It was just.
Speaker 1 (05:00):
Floor always played there, So we went to that anyway,
this was this was cool, So you know, this kind
of went out to that dude Steve. When I bought that,
I was like, I didn't even have his number, and
if they had two copies, I was just going to
buy two and then contact that West guy and be like.
Speaker 2 (05:18):
I was like, you know, I got one. I'm sure
he'll find it somewhere else, but I'm keeping this one.
But I also ended up.
Speaker 1 (05:26):
Getting a smashing pumpkin Simese dream that it was just
a record store. I already had it, but this was
the original artwork, so it was more collector related, gotcha.
And so I didn't even like it's never being it's
never opened the copy.
Speaker 2 (05:40):
I got no issue with the packaging.
Speaker 1 (05:43):
So it's gonna stay sealed in the vinyl route just
on the shelf because it's you know, it's one of
those exclusive you know, I may give five bucks off
of it one day, you know, make five dollars off that.
Speaker 2 (05:55):
All the one I got is the it's the same artwork,
but it's like the color it's got the it's kind
of the audio file version an eighty gram vinyl. Yeah,
it's what is it? Man? Two albums, three songs per side. Okay,
so like you know, a high quality audio. It's pretty cool.
I mean through that on recently and it's accident. Yeah, man,
(06:16):
better than as there good stuff? Dude, you know, what
do you go for your song in a week? Yeah.
So the band Cloud Nothings. Uh So they released their
last album, Final Summer. It was about a year ago,
right around a year ago, And just to kind of
add to that, if you go to Apple Music, you'll
find this is one of the last tracks on the album.
Even though it's not technically on the original album, it
(06:38):
was released as a single here just Man the day
before my birthday last Saturday, the nineteenth of April. Nice
and yeah, just kind of like a one year addition
to the album. The song is called that Prince and man,
it's just a really catchy track. I saw that they
had a new singles like it was the original album
artwork and going, what was this odd? Uh? So I
(07:00):
went and listened to the song, and man, it's just
a great synth of fun guitar riff, great beat.
Speaker 3 (07:04):
And just a fun song to listen to.
Speaker 2 (07:06):
That's cool. Yeah, And I've really gotten to start appreciating
Cloud Nothing's They're just three really nerdy looking dudes, but
they make some really great music and they've been doing
it for like over fifteen years now in the indie scene,
so they're kind of veterans of that whole independent independent punk.
They're on Pure Noise Records, which is one of those
like Indian punk focused labels with some hardcore as well
(07:28):
so well, and I've been watching Musio on YouTube, so
it's like and they have all these newer bands and
they cover stuff.
Speaker 1 (07:36):
And like in studio performing studio performance where they but
they just spring a cover rum And then like there's
an indie band. I was watching something it was just released,
like a last Week or something. Then an indie band
and they did a cover of Jump of Van halen Ah.
That was that was pretty interesting, man, I bet so, yeah,
I mean it was completely unlike Jump.
Speaker 2 (07:55):
Well, you know, if it was an indie band doing it, yeah,
I don't imagine they're trying to check with channel yeah right.
Speaker 1 (07:59):
But it was Yeah, and the first guy, I think of,
the guy the solo, was like, yeah, we're not doing
the solo right, or we're gonna do something different because
I'm not gonna embarrass myself by trying to.
Speaker 2 (08:09):
I can't believe. Yeah, all right, so right, you know
what time it is? All right, it's.
Speaker 1 (08:18):
Another episode of the Ventures in Vinyl and that means
yet another round of Stumped the Baron On, Stumped the Baron.
Speaker 2 (08:22):
I pick a random song from a random genre.
Speaker 1 (08:25):
I give Adam a few cludes and uh, if luck's
on his side, maybe he'll be able to guess the artist.
Speaker 2 (08:32):
Album and song title. You noticed that Todd did not
even throw in a comment about the level of my
music knowledge at this time because I have crapped the
bed so many times. Well, you know, and this week
got him.
Speaker 1 (08:45):
I kind of went to, uh, we have a cover,
a cover of a nineteen eighty four George Michael hit.
That feature is none other than your favorite soprano saxophone artist,
the one and only Kenny G. Kenny G. This is
a cover from a rock band from San Francisco that's
(09:07):
similar in style to The Counting Crows. Okay, okay, I
I'm already not having a lot of confidence. Yeah, this
was like, you know, this was my attempt to find
songs that our theme with the episode. I know it's
going to be terrible, and I know you're not going
to get it, but it's funny and we can make.
Speaker 2 (09:22):
Fun of it. Okay, well, well let's do that. Then.
Oh my god, I can't believe this is even right.
So this is George Michael.
Speaker 1 (09:34):
I think you probably recognized the saxophone part and the
lead part.
Speaker 2 (09:38):
Yeah, so the song probably gets the song a little bit. Uh,
I'm trying to I was never.
Speaker 1 (09:47):
Well, this isn't Kenny G. He's just featured on the
song doing his thing.
Speaker 2 (09:51):
Of course, know that the song itself, but the name
of it again, I admittedly was never right.
Speaker 1 (09:58):
So Ca Carroless was Caroless whispers the song? But can
you recognize the vocals and who.
Speaker 2 (10:05):
The band is?
Speaker 1 (10:07):
That's what I thought you may get, but I'm not
sure because his range is a little bit different. I
was surprised, but the only the only thing I could
tie into accounting cross was that there were in San Francisco.
Speaker 2 (10:19):
Basically, I did such a terrible job. Oh my gosh,
you're gonna have to give me a minute on that. No, No,
it's okay because it took me a while. It's not
Maroon five or something. No, it is not Maroon five. No,
I don't know who this is, but kind of.
Speaker 1 (10:38):
Poppy and the band name has to do with a
mode of transportation.
Speaker 2 (10:46):
See. I was wondering if it was trained, because I
know they're from the Bay Area. Yeah, it was trained.
Speaker 1 (10:51):
Yeah, but you notice like his vocals are very softened
for the song.
Speaker 2 (10:56):
Yeah, it was really interesting. The vocals. I didn't catch
it at all because his he normally has a very
different vocal tone than this.
Speaker 1 (11:02):
Correct, that was interesting about me, Like one, I think
it kind of I genuinely thought train, right, I was like,
but that's not his vocal. I know, I don't That's
what was interesting about the song. Like, I was like,
you're gonna be a little annoyed when you find the
answer because I've never heard this guy more, just like,
what are you doing? That's like, why cover this song
(11:23):
with Kenny G?
Speaker 2 (11:24):
Exactly? I don't understand. Yeah, it does not compute, no, like,
but okay.
Speaker 1 (11:32):
I would think an acoustic version of Careless Whisper with
a nice guitar.
Speaker 2 (11:36):
Arrangement done in his normal vocal tone.
Speaker 3 (11:39):
Would be amazing, would be a lot better.
Speaker 2 (11:41):
And if you just had to bring Kenny G, bring the.
Speaker 3 (11:44):
Guitar in the electric even to do the solo.
Speaker 2 (11:46):
But yeah, lord, okay our banjo, you could even folk
it up, do a banger, yeah, mandolin, something like that
would probably be good. Yeah, Tody did it with heretics
train Okay. W Tyler, I'm I'm a little shaken right now,
but all right, well, you know, maybe you just have
a Careless Whisper. Okay, let's just move on to the
album Please Thank.
Speaker 1 (12:09):
You, released on September fourteenth in the year nineteen ninety
three on the Giffen label. August and Everything After is
the debut studio album by San Francisco based band The
Counting Crows. Clocking in at a total length of fifty
one minutes and forty two seconds, August and Everything After
consists of eleven tracks. In the background you hear, the
(12:31):
first track off the album and second single, titled round Here.
Round Here, was released as a single on June twentieth,
nineteen ninety four, and clocks in at five minutes and
thirty two seconds. The song peaked at number thirty one
on the Billboard Hot one hundred airplay chart.
Speaker 3 (12:47):
Yeah, I did pretty, pretty freaking well.
Speaker 2 (12:49):
Honestly, I know that it was in the top ten
or eleven across multiple different Billboard charts. Yeah, I think
alternative airplay mainstream rock beaar play number seventy in the UK,
I think. But so, this song still gets me to
this day, like that opening riff with Tuggy's Underneath a
(13:09):
little bit does Mandam Durretz is just very soulful vocals.
This is one of the songs where like it just
works man, and I love the slow build of the song.
Throughout It's just keys, guitar and vocals in that first chorus,
with the drums and the bass coming on in the
second verse. And there's a lot of bands that like
cover this, oh and they just do amazing versions. Yeah.
(13:30):
I was only fourteen when this song was released. Yeah,
it actually was written in nineteen eighty nine, but I
was freshly moved to Arkansas. Yeah, whenever this came out, Yeah,
it was a it was a tough, tough year, and
so this song resonated with me from the very first
time that I heard it, just because again, it was
a it was a really brutal relocation, and while I
(13:53):
was happy to be in Arkansas, there was a lot
of traumatic abuse that kind of happened to me around
that time. Yeah. And I don't know if it's just
you know that or just the desperation of the song,
but this one never has gotten old. Still to this day,
it's one of the songs when I hear it's just
like oh man, heck yeah. Yeah. And I was.
Speaker 1 (14:12):
This album nineteen ninety three. So, like we've talked about
this whole past episodes, I had changed during that time
as well, Like my family was not doing good and
around that time, you know, we had Dad lost his job.
You know, we've been, you know, without financial stability for
a long time.
Speaker 2 (14:30):
We'd moved in with my aunt, we'd moved back to Arkansaw.
Speaker 1 (14:34):
So a lot of songs in this album and just
I think the depth of the lyrics, the tone of
the album, just the kind of got me through in
a tough spot, right. I think a lot of people
kind of braced. It was very different at the time
because you're coming off, you know, the the end of
that grunge cycle.
Speaker 2 (14:54):
Yeah.
Speaker 1 (14:55):
Yeah, but you know this actual I was just mentioned earlier,
but the song was actually written nineteen eighty nine and
it was when Adam Durretz was with the band the
Himalayans the Himalayans, so it kind of came from that,
but it was actually a way different version.
Speaker 2 (15:09):
And I think it's when Counting Crows kind of put
all this together. The band as a whole kind of
redid it a little bit. So it's maybe what it is.
It's really good, man, I guess a classic. It's one
of those that's going to be around for a long time. Yep.
Speaker 3 (15:22):
All right, man, let's move on to the next one.
Speaker 2 (15:24):
All right.
Speaker 1 (15:26):
Omaha is the second track off the album, and then
clocks in in three minutes and forty seconds, you know,
opens up with the strong track the album does. And
then you have Omaha, which just continues with the Durret's
astound capability for composing lyrics.
Speaker 2 (15:40):
Yeah. So I have a confession to make about this album. Yeah,
until this listened through, I owned the album on CD.
Bought it on CD. YEP. When I bought the album,
I only ever listened to the first three songs. Oh yeah,
this is the first time you listen to it all
the way through, the first time I listened to it
all the way through. Now I recognize some songs. There
are some songs I heard like on Lithium or you know, otherwise,
(16:03):
but maybe like on a in a movie soundtrack or
a TV show or something like that. But for the
most part, this was my first real listen through. But
this song was kind of sandwich between my two favorite
songs on the album, and so I listened to it
many times just because Colleen, it's a good song. I
don't know, I couldn't really tell you what I like
about this song. Maybe it's the chorus kind of reminds
(16:25):
me of the town that I lived in up there
in Northwest Arkansas a little bit. Yeah, you know, it
feels like it's a good transition I think between I
think it's on here, mister Jones. Yeah, it just works.
It's good. It's a good song. It's it is. It's
definitely a good song. We'd be remiss if we didn't
talk a little bit about this album's legacy, though, I
(16:46):
think so Rolling Stone has This is number sixty seven
on the one hundred Best Albums of the nineties that
listens from twenty nineteen. It went seven times platinum in
the US and Canada, platinum in a lot of the
Commonwealth countries Australia, UK, New Zealand. When Golden Spain, ten
million copies were sold worldwide of this album. So obviously
(17:09):
it resonated with a lot of people. And whether or
not I was one of them, we'll get to that.
But this is a great song. Yeah, it's always one
of my favorite albums. I you know, I've said this before.
I it's one of my favorite albums. It's in my
you know, it's it rotates kind of. It's always in
the top twenty. Sometimes it's in the top ten, gotcha.
(17:29):
Sometimes it's in the top five. But it would you
say that that is more a product of the quality
of the album or more a product of when it
came out in relation to your own life experience.
Speaker 1 (17:42):
You know, that's a very good question, and I believe
it's because it's a good album because some of these songs, while, hey,
they resonate with situations back then, I'm not in those
situations anymo.
Speaker 2 (17:54):
Yea.
Speaker 1 (17:55):
When I listen to the album now, I don't think
back to those situations. What I do is think about, Wow,
that's a really good song. Look how that song identified
with a person or those people, and while how is
this composed? How are they getting that layers Like I
just enjoyed listening to the album. I think at this point, God,
that's why it rotates in and out. Now you know,
(18:16):
it's one of those and I tend to want to
listen to it as a whole album and not just
individual songs.
Speaker 2 (18:22):
Gotcha, Okay? Now, is there some nostalgia around it? Yeah?
Speaker 1 (18:28):
I can't admit that there's not that. I wouldn't say
that it's that nostalgia. That's not that nostalgia is not
the reason why.
Speaker 3 (18:36):
It's It's not the driving factor behind your like of
the album.
Speaker 1 (18:39):
No, it's just kind of the pace of the songs,
the way they're composed, some of the lyrics, the vocal range, gotcha.
Speaker 2 (18:46):
You know, it's just a lot of powerful emotion on
the album. That's what I like.
Speaker 3 (18:50):
I would agree with that, there is a lot of
powerful emotionss.
Speaker 2 (18:52):
I just did the whole final thoughts right there. But
that's okay, Well, hey, all right, it doesn't get much
better than this one, I know.
Speaker 1 (18:59):
The single and most popular track from the band Counting
Crows is track three, titled Mister Jones. Mister Jones clocks
in at four minutes and thirty three fabulous seconds, as
was released as a single on December first, in the
year nineteen ninety three. The B side of the single
is raining in Baltimore In Baltimore.
Speaker 2 (19:17):
Okay, so this one, it was obviously huge. It was
number two on pop airplay. I mean it was mainstream rock.
I'll turn to airplay. I think it was number two
on all of those very recognizable opening riff. Yeah, yeah,
this So this was certified platinum in multiple countries as
a single. From the opening a minor chord, you know
(19:38):
exactly what you're hearing when this one starts. Yeah, I mean,
it's kind of unmistaken, the whole doom doom, the way
it just Yeah, and you know, I couldn't get enough
of this song when it came out. I'd hunt radio stations, yeah,
just for even a short listen of it when I
didn't have my CD player handy. Yeah. Right, So such
a single chorus, simple progression, the chiming guitars, I would
(20:02):
swear he used a rick or Bocker Rickenbacker on this song. Oh,
they just for the guitar part.
Speaker 3 (20:08):
I think they used a Ricken Backer for the rhythm
guitar part. Man.
Speaker 2 (20:13):
The female TV Jones pickups, yeah, probably some probably something
with something just with a lot of chime to it.
But whenever you get to the later chorus, the female
harmonizing under the second chorus, that extra dynamic just adds
so much to that chorus. Man, it is just a
really great song, I mean, and get much better than
mister Jones. And to me, it's the quintessential song off
(20:34):
this album, followed extremely closely like one A, one B
by round here. Yeah alright, man, so let's move on
all right. Next on the list is Perfect Blue Buildings.
It's the four track off the album yeah, I got
there right.
Speaker 1 (20:51):
Yeah, track off right that clocks in in five minutes
of one second.
Speaker 2 (20:56):
Did you think mister Jones was overplayed on the radio.
Speaker 1 (20:59):
We've gotta talk that. I've meant to mention that. No,
to be honest with you, do you did you like
how this transition from an upbeat song to something more
somber for mister Jones?
Speaker 2 (21:10):
No? I did not? You did not like? No, I
think it needed something to kind of help maybe ease
into this is like the fifth track rather than the
fourth one. Yeah, I'll be honest, if you're coming off
of something like mister Jones into something like this, my
attention immediately disappears.
Speaker 1 (21:26):
Yeah, That's where I struggled a little bit, Like when
you know, when I'm picking something apart and I think
we just do that.
Speaker 3 (21:35):
Sure, Yes, side is twenty twenty, you know. I mean
I would want to like.
Speaker 1 (21:39):
Come something that's like in the same feat or rhythm
as mister Jones, or you know, at least something that's
up tempo a little bit more compared to bringing it down.
But I really like Perfect Blue Buildings. They could have
taken rain King and stuck in it, right. You know,
I was just thinking the same thing as like why
put rain King on the first side and swap it
with Perfect Blue.
Speaker 2 (21:59):
Building because you still have strong track, at least one
strong I'd say two strong tracks towards the end of
the album as well, that could carry a side too. Well. Yeah,
I mean I think, yeah, yeah, I agree. But this
one honestly just kind of fades into the background once
you get past mister Jones. I personally there's a lot
of this album that fades into the background right well.
And in the track itself is a beautiful song.
Speaker 1 (22:21):
The lyrics are pretty deep, and I think it's like
it's about a guy that's dreaming of being in a coma.
Like it's it's a pretty deep song if you read
some of the background behind.
Speaker 2 (22:33):
How Adam wrote a lot of these songs. That's what's
really interesting about that.
Speaker 1 (22:38):
I think that's part of the reason why I like
it is when you know the he just did an interview.
Speaker 2 (22:42):
There's an interview with like Rick Byatto. It's out there
on youtbm for like probably maybe three or four weeks now,
But a lot of interesting things when he talks about
some of the songs and what he wrote and how
he kind of came across and for a debut album,
it's not bad, No, not at all, you know. But
a lot of these guys like he, you know, and
he tells the story of like when he figured out
(23:06):
he was going to be a songwriter, how he kind
of came to that conclusion, and how he built from that. Obviously,
these guys have been there was a lot of work
I think in that Bay Area musicians, and then when
they got all that together and started composing some of
this stuff with his Darts's lyrics, this is the product down,
(23:26):
all right. So moving on to the next one. Number five,
Numero le Sinko Go numeros sino Numero sinco and it
Begins is the fifth track off the album. Clocks in
in four minutes at thirty two seconds. Another song about
another individual and the lead singer's life. That's what this
one is.
Speaker 3 (23:47):
Yeah, So I admit, the verses don't grab me.
Speaker 2 (23:51):
They just don't. The chorus is pretty good, yeah, I
mean it's good enough to keep me around. Otherwise the
one is just kind of there for me. And I
know this is like a fan favorite song. A lot
of people really like this song. I admit, I just
think there's far stronger tracks on the album. Yeah, not
that it's a bad song. It's not my cup of
(24:12):
tea overall. Again, the chorus, I think the chorus is
really good, but these verses are just kind of like.
Speaker 1 (24:19):
Yeah, well, I mean, I think it all depends on
what you're getting from the song and how you listen
to it.
Speaker 2 (24:23):
Yeah, I'm not a guy that dives into lyrics a
lot of the time. There's some songs where like it's
unmistakable how powerful lyrics are, but this he has more
nuance in the way you have to kind of be
in on the the story a little bit. And I
admit those those kinds of songs, I usually tune that
kind of stuff. Oh you see to me like I
(24:43):
never I don't even think I told you about this,
But I used to do write poetry and stuff and
a lot of other things and like kind of write lyrics,
and so I really identify with some of that, and
I think that's why I listened to it. But you're
you know, you're more on the I'm more on.
Speaker 1 (24:58):
The music side, right, that was always my strength and
if that and I've noticed just if the rhythm section,
like if something's just kind of grooving along, but there's.
Speaker 2 (25:09):
Not a lot of change or a lot of depth.
You tend to not You're like, hey, that's good, but
you don't tend to relate to songs.
Speaker 3 (25:18):
I'm just true, you know that is I mean, you're
in observation.
Speaker 2 (25:20):
You're not knocking me by any means. That's the truth.
Speaker 1 (25:23):
But I think it's a part when we talk about
these albums, like you're getting from two different really perspectives.
Speaker 2 (25:29):
I'm self realized enough to say that that is absolutely true.
But at the gain, like, what to your point we
come at this from very different perspectives. Yeah, I'm a
long time like forty plus years of music, whereas you
come on it from more like your I don't want
to even put the words in your mouth.
Speaker 3 (25:47):
You would know better than me, Like what bent you
come with?
Speaker 2 (25:50):
When? Yeah?
Speaker 1 (25:50):
I mean I like, yeah, and I come with you know,
everyone's got baggage, right, so everyone comes into listening. I
think anything that inspires you or you can really to
you come with some type.
Speaker 3 (26:01):
Of emotional package and then I'm sorry, go ahead.
Speaker 2 (26:04):
Yeah.
Speaker 1 (26:04):
And then you know I had a more art background
and you know, a music background, poetry background. Yeah, so
it was a lot of and then I switched over
to kind of math and science right during the kind
of this transition.
Speaker 2 (26:17):
But those are the words stick out to you more
than perhaps, right.
Speaker 1 (26:21):
But unless it's a guitar, right, and but all of
these like the drum riff, it's almost a jazzy type
of riff. So I'm finding that based on what I
learned to play in the styles that I gravitate to
as I progress as my attempt to be a musician.
That's where I gravity, right, and this album and our
(26:43):
discussion is actually like this is as when we do
all these freaking episodes like you start kind of let go.
This is why this type of person may like this album,
but you also may benefit from it, depending on you know, your.
Speaker 2 (26:58):
Back there's different strokes for different folks. Yeah, yeah, it's
just interesting. Yeah, all right, man, let's move on to
the next one and to get another random conversation about
another track on the album.
Speaker 1 (27:09):
We entered the halfway mark and track six is titled
Time and Time Again. It's another five minute, thirteen second
type of tracks. Very mellow, mellow, a little bit long.
Speaker 2 (27:23):
You know, I would put it on in the background
if I just wanted some background noise.
Speaker 1 (27:27):
Oh, you're working. It's a kind of a working music. Yeah,
we're in the working sections.
Speaker 2 (27:31):
Nothing that really demands your attention. No, you're not lifting
weights while you're listening to this, O lord, No, oh geez,
what kind of weights are you lifting if you're listening
to this lightweights? Right, exactly. It's a volume workout. Yeah,
it's a volume you're happy, you're getting hypotrol happy, and
you're trying to get something that will bring you back
down there.
Speaker 1 (27:48):
Are you're sore or a it's a maintenance day. It's
a recovery day. That's why you would listen to this
in the gym. Yeah, if you're just doing machines and
cable work and you're trying to you know, you're on
a focus workout instead of foundations for sure.
Speaker 2 (28:03):
So I'm realizing as you get in decide too that things,
I mean, not all of them, but man, we're getting
into like what I would say is definitely the more
mellow side of the album. Yeah. Well, and I like
a mellow album when I'm just listening sometimes, sure, and
I think this kind of is my went essential mellow album.
Speaker 3 (28:23):
This is yeah and just fits that bill for sure.
Speaker 2 (28:26):
But yeah, again, this is I would stop short of
saying that it's not a good song, absolutely would stop
short of that. I'm I would say that it's basically
just that very mellow music that if you're in the
mood for, it's perfect for that. I don't find myself
there frequently, and when I do, I tend to gravitate elsewhere.
But if you are Accounting Crows fan, then this is
(28:49):
and you're in that space, then this is a good one. Yeah.
Speaker 3 (28:52):
I mean it's a good song. Yeah, it is a
good song.
Speaker 1 (28:54):
I would say it's probably the least favorite album. Like
sometimes if it shows up and I'm listening to it,
just like on Apple Music, I tend to skip over
that one.
Speaker 2 (29:04):
Yeah, But if it's on when I'm playing the vinyl. Yeah,
But I did you know, I got a CD player
and I actually had this CD and I put it on.
Speaker 3 (29:13):
Got it buried somewhere as well, and actually skipped this track.
Speaker 1 (29:18):
You didn't know, Yeah, because I was like, oh, I'm
gonna listen to the CD while I kind of work
on the notes, and I was like, oh, this is
time and time again. It's a good song. I just
didn't feel like listening to that track. I feel you
all right, So I had two different listening experiences. I
listen to it on the vinyl and I listen to
it on the CD three and I listened to it
on the streaming service.
Speaker 3 (29:34):
So all right, so let's get into the next one.
Speaker 1 (29:37):
Rain King, the third single that was released on October third,
nineteen ninety four, is the seventh track off the album.
Rain King clocks in at four minutes in sixteen seconds,
you know. The B side of this single was track
number five, and it begins. The title of the song
is in reference to Saalbellows Henderson The rain King.
Speaker 3 (29:59):
I never heard of that before. I think it's a book.
Speaker 2 (30:01):
Okay, okay, So this is when you talked about when
you ask about mister Jones being overplayed on the radio.
Speaker 3 (30:07):
This is the one that I felt like the radio.
Speaker 2 (30:11):
This was it. They kind of killed any potential that
I might have had to enjoy this. Yeah, and there's
several songs out there like Oasis, there's a few Wonders, Wonderwall.
They killed any desire I might have to like it
by playing it constantly well in this album is kind
of to me. It's I imagine that when we get
(30:31):
to the end of it, the response is gonna be
similar to what's the story of Morning Glory? Yeah? Right, yeah,
when you look at I don't feel like this is
one of Adam Durtzs's best vocal songs. I feel like
his range is limited on it. He's got a great range.
He is a unique voice. You instantly recognize it when
you hear it, and I felt like this one just
kind of dummed it down. If I'm being honest, I'm
(30:53):
not saying musically there's not a good song. It's a
very simple progression, but they do some They do some
cool little things in there, like right here the electric
guitar underneath that line. It's good stuff. It's just man,
I felt like they put the limiter on his vocals.
And yeah, it's my least favorite of the three.
Speaker 1 (31:13):
Main lyrics it oh yeah, We're it's not the tone
of his vocal range.
Speaker 2 (31:20):
He's just lyrics itself. It's the lyrics. Well, the lyrics
keep him. It's like they limit him to a shorter
range musically. We're around here. He gets up there, but
he also gets lower and like there's more like that dynamic.
I feel like this one is just so just kind
of like it's level. It's level, and it just bores me.
(31:40):
I hate to say that, but it kind of bores
me vocally. Musically, it's a good song. So this is
background bar music. It's exactly background. I would say if
I'm if I'm at a bar hanging out with my buddies,
We're all just sitting around drinking beers, laughing, and this
is playing.
Speaker 3 (31:53):
It's like, Okay, it's fine.
Speaker 2 (31:54):
Actually, that's a really good idea. We need to do that.
Sometimes we haven't done that well. All right, So next
one eighth track all the album is titled Sullivan Street
clocks in at four minutes and twenty nine seconds. So
the harm I think the female background vocals on this,
the harmonization with Adam Duritz, Yeah, that's the highlight of
the song. Well, I think this is overall a very
(32:15):
I think it's a beautiful song.
Speaker 3 (32:16):
It's a great song.
Speaker 2 (32:18):
I'd have liked to hear some distorted guitar like gentle
like maybe like that Rickenbacker with those TV Jones in there,
if that actually was what they used, with a little
bit of distortion on them. I felt like the song
could have benefited from just being brought up a little
bit with something like that, like a transparent overdrive. But
I mean, honestly, it's a great track. Otherwise, I really
(32:40):
like I said, love the backing vocals in the way
that she harmonizes with Adam Duritz.
Speaker 3 (32:45):
To me that is it's fantastic. Yeah, I would agree.
Speaker 2 (32:48):
Yeah, I mean, it's not necessarily a song I'm gonna
go seek out all the time, but I think that
it's definitely one of the stronger ones amongst the standard
album tracks.
Speaker 1 (32:57):
I think I know where you're getting that chiny sound.
So you know, we are in the twenty twenty five
in the world of AI and according to AI that
David Bryson primarily used in nineteen fifty six Gibson less
Paul Junior's Junior with P ninety, So it's gonna have
that dog ear P ninety, which is going to be
(33:18):
more in that middle position in between you know that
twenty four, which is gonna give you a three quarter
scale maybe super Treppi, but it's gonna give you more
chime buying court.
Speaker 2 (33:27):
It's nuts. It's the mids, I think, is what you're hearing, right,
So it's gonna pull out the mids, I think, Yeah,
Interact that's what that makes sense. Yeah, yeah, I actually
used to have one of those, like a newer model,
but I used to have one of those Less Paul
p nineties.
Speaker 1 (33:40):
Yeah, well I've got a I've got a Less Paul
an epiphone TV yellow special about a husk for like
two hundred and fifty bucks after a set of P nineties,
and that sounds great. And then I just bought a
I found a special warmouth p ninety telecaster body like
on their clearance.
Speaker 2 (33:54):
So and then I bought a Uh, you gotta make
a telesonic style. Do you ever see the telesonics Fender
did for a while.
Speaker 1 (34:01):
Yeah, I kind of love that guitar, so I'll have
to send you some pictures. But I was able to
find a Gibson scale telecaster neck with a nitro finish,
super thin, like vintage mapel. It's all satin and it'll
just kind of look like a mesh between like a
Les Paul and a telecaster.
Speaker 2 (34:22):
Cool.
Speaker 1 (34:22):
So I'm hoping it gives me just raw bluesy kind
of sound and that way, like Less paulse can just
stay in their case with humidifiers in it.
Speaker 2 (34:31):
And uh, you know, gain value and gain value all right,
so let's move on to the next one. Yeah, well,
we have a kind of gone off the rails on this.
Speaker 3 (34:40):
That's okay, we're just having fun talking.
Speaker 1 (34:43):
So ghost ghost Train is the night track off the
album and clocks in in four minutes one second. I
can be honest with you on ghost Train, you know it.
I'm finding a lot of these like round here, and
a lot of them at least on the mix, the
CD and the vinyl. There's a lot of a space, okay.
Speaker 2 (35:03):
Like it's like, I'm not sure what Like I've found
on the.
Speaker 3 (35:06):
CD, there's a lot of room for something else to
be in the.
Speaker 1 (35:09):
Yeah, it's like when they started, there's just this dead space.
And I don't know if it was something in the nineties,
but I've noticed like round here when I press play,
and even on the vinyl, it's.
Speaker 2 (35:18):
Like five seconds of dead gotcha. I don't know why
that is.
Speaker 3 (35:22):
It's just interesting.
Speaker 2 (35:23):
I feel like they're trying to maybe fade in a
little bit, like maybe when you listen to round here
that little gap, because it's present on the streaming version
as well, there's a little gap there. I felt like
maybe they're just kind of trying to bring the volume
up without anything playing to kind of prime the guitar
for that opening riff. But that's what I gathered they
(35:46):
were trying to do. I could be entirely wrong and
it would not surprise me, but so ghost Train. The
most interesting thing to me about this song is, I
don't know if you've ever heard of this band called
Between the Buried and Me, progressive metal core band. I've
heard of them. I've actually uh, I went to a
music festival and they were playing. But they take their
(36:09):
name from the line fifty million feet of earth between
the Buried and knee in this song. That's where they
got their band name. A progressive metal core band getting
their name from a Counting Crow's song. That's very melo.
That's just interesting to me. That's really funny.
Speaker 3 (36:26):
Other than that, I didn't really care for this song.
Speaker 1 (36:28):
I think Raining in Baltimore, which is the next track
off the album Let's Just Go There, would make a
great name for like a emo band band and emo band, yeah,
raining and balta Raining in Baltimore, I mean that sounds
perfect for an emo band. Yeah. So Raining in Baltimore
was the b side to the first single off the album,
and the clocks in. It's that kind of sub five
(36:51):
minute But you kind of get in this range of
the album where the song's length and a billion they're
less poppy, they're more mellow, right, and so you've got
to be in a certain frame of mind to listen
to the Yeah, Honestly, after the last few songs, it's
kind of like, well, I'm losing my attention. Well, you
(37:11):
you have to be. It's right from my mind, depending
on what you like to enjoy. Like if you're this
isn't an album you can put onto the background when
you're working on stuff. You can't work out to it.
Not to say it's not a great album, it's just
not an every day It is a vibe you have
to be in the right head space to really appreciate.
Speaker 2 (37:30):
But when you are, it's great. Listen.
Speaker 1 (37:33):
Yeah, I mean I think you know, you've had a
hard week and you get that big you know, fore
finger glass of bourbon on a single rock it's in
your chair, You head back, you need to, you need to,
you know, process, You put this on the background and
start processing, because that's that's the type of just kind.
Speaker 2 (37:51):
Of album it is. Yeah, I don't have a lot
to say about this song again for me, Let's move
on to the next.
Speaker 1 (37:59):
One of the last track on the album is a
murder of one, which clocks in at five minutes and
forty four seconds. This song was actually featured on the
TV sitcom Scrubs and that episode was titled The Porcelain God,
so it was featured the toilet on a song on
(38:21):
a The song was featured on a sitcom episode that
was titled about a Toilet and was featured on season three,
episode nine that was titled Apologies from the FX series.
We both like the bear the bear. Yeah, so it
gets one point for just being on the bear. And
you know, it's a good song because the bear. Whatever
(38:41):
music they put on that show.
Speaker 2 (38:42):
Music director for that shows a genius. He puts nothing
but relevant, good stuff based on the moment. It's one
of the things about that series that makes it great
is a basic director's taste and finding the perfect moments
and the perfect songs to go in those moments. The
dudes amazing, whoever you are, My hat is off to you. Yeah, yeah,
it was just this is a great song. It is closes,
(39:03):
It closes the album really good. It does. Yeah. I
like that they bring it back up for this. I
love that effects leaden guitar, some nice distortion. I vaguely
remember hearing this one on Sirius XM Lithium a while back,
and honestly, yeah, I thought I couldn't remember this track
is in. I didn't get past track three whenever I
(39:23):
had the album, but I thought it might have been
from a later album. But it just kind of it's
interesting that the band waited to put this until last
on the album. It has more of a feel of
like a second or third track from the end, to
kind of bring things back up after the mellow fest
that we just went through. But you know, hey, it's
a great song. It's got a catchy chorus. I like
(39:45):
the nice, gentle harmonizing vocals under the chorus, more electric
and less acoustic. Finally, right, man, it's a.
Speaker 3 (39:54):
Really good song.
Speaker 2 (39:55):
YEA like the song. Like so the album.
Speaker 1 (39:58):
You know, we've been talking throughout the APIs so about Hey,
is it nostalgia or do you really like the album?
You know, I always try to second myself, second guess
myself when I'm thinking like that, but I really, when
I look at kind of the album, for me, it's
not like a ten, right, sure, And I was like, well,
listen to nine for me.
Speaker 2 (40:18):
And I was like, well, it's not this.
Speaker 1 (40:20):
I like listening to it, but it's not one that
I go grab all the time, so I don't think
it's a nine. And I was like, but it's probably
a good seven and a half, solid eight for me
in terms of rating the album based on how I
like what I like, and you know, some of that
is probably based on the emotional connection I have. But
I do like to listen to the full album. But
(40:40):
I have noticed that I do have to be in
the right friend of mind. It's not an every day
of listen.
Speaker 2 (40:44):
Sure.
Speaker 1 (40:44):
Now some of the tracks are like round here, I
can listen to that every day, mister Jones, I don't
really get tired.
Speaker 3 (40:51):
I love those songs. I can listen to this song.
Speaker 2 (40:53):
Yeah, it's really good and.
Speaker 1 (40:56):
It begins I kind of you don't like, but I
kind of like it just from the posher aspect of it. So,
I mean, there are songs that I'd like to listen
to very often, but the album itself just.
Speaker 2 (41:08):
Have to be in the right mind.
Speaker 1 (41:10):
Gotch really great that I got the first CD run,
even though I don't have the case anymore, because I
threw all those away. It just got the CD's of
my biner and really cool that I got the vinyl.
I'm glad I got the vinyl. Right when you collect something,
when you have something, you know, you want that emotional connection.
Speaker 2 (41:26):
So for me the.
Speaker 1 (41:27):
Album, it's probably why I like the album. I'm sure
one of the reasons I really like the album the
way I do is because of that emotional connection. So
I can't really even though that's not I don't use
that as a reason to listen to it. There is
that nostalgia that I think is making it rank higher
(41:49):
than what.
Speaker 2 (41:49):
The average listener would probably like. Gotch or you know
someone that's a big grunge person or something. I don't know.
I'm sure so this one I gave it a six
out of tack, Okay, a little lower than you. The
only reason being is because I wish that it was
a little bit less of a you have to be
in the mood album. Yeah, I mean to me, I
(42:13):
appreciate the most albums that have a little bit of everything.
This one has a lot of one thing and then
a lot of another. And I should say a little
of upbeat and a lot of not and there's not
a whole lot of in between there. And I guess
that's the one thing that really Yeah, I knocked this
(42:35):
album for but I have to also acknowledge the fact
that it has had a huge influence on an entire
generation of music. Yeah, it might not be my taste,
but I can't say that it's not a great album.
I actually think it is a great album when you
look at it from a legacy perspective, I would just
if I wanted to get into this era and pick
(42:56):
something that to me hit the boxes that what you
talked about out, I'd probably go more to like the
Gin Blossom's New Miserable Experience, right, because to me, I
think that's more my what that's to me? What this
is to you? Yeah, yeah, I can see that. Yeah.
So but regardless, I think it's a great album. It
gets a six only just because again, like the tracks
(43:18):
I don't like, I really don't like, But the tracks
that I do like, I really do like. My rating
is almost kind of deceptive. I would say that maybe
six out of ten doesn't sound fair to some people,
but I think that's that's more for my taste. If
I'm looking at it from a legacy perspective, I'd say
it's like a solid eight, solid yeah, yeah. So if
(43:39):
I had the land in the middle of those, I'd
say it's a seven, but six for my personal taste, Okay,
all right, man, hey with like with that, with like
that and just like that and just like that. Jeez,
it's been a couple of weeks.
Speaker 3 (43:51):
Man, it has man.
Speaker 1 (43:52):
And just like that, we close another episode of The
Ventures and Vinyl. If you like the music featured on
this episode, check out the website for today's episode. You
you get links to Apple Music for all that cool stuff.
If you want more information on the Counting Crows, well,
you know, these guys should have a website. It's at
www dot Countingcrows dot com. The Counting Crows actually have
a new album out called Butter Miracle The Complete Suites.
(44:16):
The Counting Crows are also on tour with the Gaslight
Anthem Hey this summer in the US. The closest they
will be to the central Arkansas area would be Nashville, Tennessee,
or Durant, Oklahoma. They're actually playing in one of the
chalk Taw casinos and Lovely Durant, Oklahoma, which is like
four hours.
Speaker 3 (44:33):
That's probably the closest rock Yeah, yeah, I think that.
Speaker 1 (44:35):
And actually looking at the tickets, they're you know, press
range kind of amphitheater.
Speaker 2 (44:40):
You know.
Speaker 1 (44:41):
So like if you're in your forties and fifties, want
to go see County Crow, want to take the wife girlfriend,
need to be able to sit down and need to
be able to sit down, you know, Durant, Oklahoma is
probably a good venue.
Speaker 2 (44:52):
It's our reality these days.
Speaker 1 (44:53):
I know, we were looking at like literally and I
were talking about social distortion up at the JJ's live
and I was like, guys, I don't understand.
Speaker 2 (45:00):
Man, way too much money to have to sit down.
There's like to get a tea Bucks on floor seats
and then if we want a mes box, we gotta
get eight seats and it's one stool. And then we
got to find like seven people, like a bunch of
people to fill the mess. And I don't know that
many I my on clouds aren't thick enough to be
on that ground floor. I mean it's bad enough.
Speaker 1 (45:21):
At blank one AD two, we're like, no, we're gonna
bring blankets and sit on the lawn.
Speaker 2 (45:26):
Well, Donnie couldn't get us the box. Apparently, that's our right,
you know it's blank. We'll live on the Alkaline Trio
with them, which to me that's almost more of a
selling point.
Speaker 3 (45:34):
Yeah, I haven't seen them live before.
Speaker 2 (45:36):
Yeah.
Speaker 3 (45:36):
Well hey, well not for having for five twenty plus years.
Speaker 1 (45:39):
Yeah, but anyways, well hey, if you enjoyed this podcast,
be sure to check us out on our website at
www dot Adventures in Vinyl dot com, where you can
find links to all of our episodes, and through our
support section you can find a place to order your
very own Adventures in Vinyl t shirt. Follow us on
Instagram at Adventures not in dot Vinyl, and be sure
to subscribe to the podcast to leave a review. Recommend
it to your friends if they like careen looking for
(46:00):
new music, so you should listen to these two dumb
butts on your favorite streaming platform because they don't know
what they're talking about, but sometimes they're a little bit funny.
You can follow Adam on Instagram at eat dot Prey
dot arm Bar and myself at Todd David Warden With that,
I'm Todd ward and I'm Adam barrass and we will
see you next time whenever we get around to doing another.
Speaker 2 (46:18):
Episode of Adventures in Vinyl.
Speaker 3 (46:21):
How accurate that is. I know it's so bad, life happens.
Speaker 2 (46:28):
I know it's busy playing Daddy Taxi service to do
more podcasts.
Speaker 1 (46:37):
Well, and I just like it that none of our
fans post comments on anything, so it's not like they care.
Speaker 2 (46:44):
We'll see you next time. Later
On this episode of Adventures in Vinyl, Adam and I
discussed you had another debut studio album by a band
whose name was derived from a British nursery rhyme called
One for Sorrow. That band is Counting Crows and the
album is August and everything after.
Speaker 2 (00:38):
What is up?
Speaker 1 (00:39):
And welcome to another episode of Adventures in Vinyl. I'm
Todd warded with me as my co host Adam Barron.
What's up, Adam Man?
Speaker 2 (00:46):
So I had a birthday this next week, which was
Fay birthday, precisely one week before mine. Was another gentleman
in the room's birthday, Yeah, after cod Ward. Yeah, did
you do anything special on your birthday? Just out?
Speaker 3 (00:57):
Yeah, we had a nice party. You were there, of course.
Speaker 2 (01:01):
Yeah. I went to the World Ground about here in Conway.
I had some beers. Yeah, I like the Dark Home,
the Donnie dark Holme beer that was round Argo. Yeah,
I like that beer. Yeah. They have several good ones there.
I mean basically they have as I'm sure you saw,
they have a craft brewery and house. Yeah. That was
been cool. Yeah.
Speaker 3 (01:16):
Danielle Rezu reserved the Big Room their room and.
Speaker 2 (01:20):
We had what twenty eight thirty people something like that
in there. Over the course of the night, it was Yeah,
it's a lot of fun. Man. Yeah, had great time.
Speaker 1 (01:28):
How about you, Uh, well, you know we did really
low key just that weekend I did. Record store Day
was the twelfth.
Speaker 2 (01:36):
Yeah, so I you know, I haven't been record shopping
a while, so it's like, hey, I'll go to record
store Day. So I went to like Control Records in
Little Rock, so it's right off in the Heights area.
They opened at nine am. I got there roughly about
like eight thirty eight forty and the line was pretty long,
so it took me about forty five minutes to.
Speaker 1 (01:54):
Get into like a lot, a lot, a lot of people.
Really small store, it's been a bit is for around
six years. The owner west really cool dude. Well here's
what I really liked. He had everyone lined up, He
had all the stuff that people are looking for kind
of out, and he would come out when the inventory
level would change and would talk to so some people
was like, hey, I'm out, dude, I'm sorry, but he
(02:15):
would like, hey, Arkansas CD Record Store Music Exchange opens
up at noon, but there are like ten something they're
doing a lottery so you don't have to wait in
line nearly you can just go get a ticket, you know.
So they're doing stuff to could kind of control the
crowd to get everybody. But I think it overall good turnout.
It was interesting is like everyone was looking for, you know, a.
Speaker 2 (02:34):
Lot of swift type of stuff, specialized stuff and the
stuff that like you and I would go after. It
was very few people.
Speaker 1 (02:40):
That's great, and you know the the what was cool
is like I met a dude named Steve while were
writing in line. So it's older, older dude, and we
were both just talking about albums and he released he
was really looking for better than Ezra, How does Your
Garden Grows? First time they released that on vinyl. Yeah,
and so we I was like, oh, well, you know
if you find in There was that post Malone album
(03:01):
where the Nirvana tribute, which is totally cool. It's literally
just the performances record on the album, no intro, It's
just there, it is. It's totally cool. They had, like
I bought a lot of stuff I need to do,
like the v log thing my record store day hall,
because I ended up going to two places and I
ended up getting a copy like Loveless Nice, which was good.
(03:22):
So I added stuff to the collection, didn't get a
couple of things I was looking for. But anyway, this
guy Steve was looking for that album. It was like
his thing and they didn't have it at Control. I
ended up at ARCD Records of.
Speaker 2 (03:33):
Music Exchange and ended up getting getting that album because
it was there. So like for my song of the week,
you know, this one goes out to that guy Steve.
This is alf the Stars, which was the second single
off the album, How does Your Garden Grove buy.
Speaker 1 (03:49):
New Orleans Own better than Ezra? This single peak to
number seventeen on the Billboard Modern Rock Charts following the
release of the album. They were released by their label
Whattris Yeah, which is so crazy to me, man, when
you think about how many bangers those guys put out there. Yeah, well,
this is probably one of the weaker albums I think
as I was. I bought it because it was the
first album. Yah yeah, and I like better than I
(04:11):
liked the album. That's why I bought it. It was
the first time, so like, yeah, you know, it's worse
some stuff.
Speaker 2 (04:16):
Yeah, we've seen them a few times. I remember seeing
them at the Greek Theater at you of a Yeah,
I mean I've seen them like a ton of times.
I haven't seen them probably in the past ten years.
One of mister Baker's favorite bands. One of mister Baker's
favorite bands. I think I saw it several times with
Doddy Bot. It's not surprising.
Speaker 1 (04:31):
Yeah, man, actually have a better Nozer story on Crowder.
When we went, I think you were. I was probably overseas.
You were probably overseas.
Speaker 2 (04:39):
But a bunch of us went to go see at
the uh not the light Bulb Club, Jr's the group upstairs.
Speaker 1 (04:48):
No no, no, it was the one Optics and behind George's.
Speaker 2 (04:52):
Oh goodness, the Powerhouse. No no no, it was right
before power was, right off the train track. It was just.
Speaker 1 (05:00):
Floor always played there, So we went to that anyway,
this was this was cool, So you know, this kind
of went out to that dude Steve. When I bought that,
I was like, I didn't even have his number, and
if they had two copies, I was just going to
buy two and then contact that West guy and be like.
Speaker 2 (05:18):
I was like, you know, I got one. I'm sure
he'll find it somewhere else, but I'm keeping this one.
But I also ended up.
Speaker 1 (05:26):
Getting a smashing pumpkin Simese dream that it was just
a record store. I already had it, but this was
the original artwork, so it was more collector related, gotcha.
And so I didn't even like it's never being it's
never opened the copy.
Speaker 2 (05:40):
I got no issue with the packaging.
Speaker 1 (05:43):
So it's gonna stay sealed in the vinyl route just
on the shelf because it's you know, it's one of
those exclusive you know, I may give five bucks off
of it one day, you know, make five dollars off that.
Speaker 2 (05:55):
All the one I got is the it's the same artwork,
but it's like the color it's got the it's kind
of the audio file version an eighty gram vinyl. Yeah,
it's what is it? Man? Two albums, three songs per side. Okay,
so like you know, a high quality audio. It's pretty cool.
I mean through that on recently and it's accident. Yeah, man,
(06:16):
better than as there good stuff? Dude, you know, what
do you go for your song in a week? Yeah.
So the band Cloud Nothings. Uh So they released their
last album, Final Summer. It was about a year ago,
right around a year ago, And just to kind of
add to that, if you go to Apple Music, you'll
find this is one of the last tracks on the album.
Even though it's not technically on the original album, it
(06:38):
was released as a single here just Man the day
before my birthday last Saturday, the nineteenth of April. Nice
and yeah, just kind of like a one year addition
to the album. The song is called that Prince and man,
it's just a really catchy track. I saw that they
had a new singles like it was the original album
artwork and going, what was this odd? Uh? So I
(07:00):
went and listened to the song, and man, it's just
a great synth of fun guitar riff, great beat.
Speaker 3 (07:04):
And just a fun song to listen to.
Speaker 2 (07:06):
That's cool. Yeah, And I've really gotten to start appreciating
Cloud Nothing's They're just three really nerdy looking dudes, but
they make some really great music and they've been doing
it for like over fifteen years now in the indie scene,
so they're kind of veterans of that whole independent independent punk.
They're on Pure Noise Records, which is one of those
like Indian punk focused labels with some hardcore as well
(07:28):
so well, and I've been watching Musio on YouTube, so
it's like and they have all these newer bands and
they cover stuff.
Speaker 1 (07:36):
And like in studio performing studio performance where they but
they just spring a cover rum And then like there's
an indie band. I was watching something it was just released,
like a last Week or something. Then an indie band
and they did a cover of Jump of Van halen Ah.
That was that was pretty interesting, man, I bet so, yeah,
I mean it was completely unlike Jump.
Speaker 2 (07:55):
Well, you know, if it was an indie band doing it, yeah,
I don't imagine they're trying to check with channel yeah right.
Speaker 1 (07:59):
But it was Yeah, and the first guy, I think of,
the guy the solo, was like, yeah, we're not doing
the solo right, or we're gonna do something different because
I'm not gonna embarrass myself by trying to.
Speaker 2 (08:09):
I can't believe. Yeah, all right, so right, you know
what time it is? All right, it's.
Speaker 1 (08:18):
Another episode of the Ventures in Vinyl and that means
yet another round of Stumped the Baron On, Stumped the Baron.
Speaker 2 (08:22):
I pick a random song from a random genre.
Speaker 1 (08:25):
I give Adam a few cludes and uh, if luck's
on his side, maybe he'll be able to guess the artist.
Speaker 2 (08:32):
Album and song title. You noticed that Todd did not
even throw in a comment about the level of my
music knowledge at this time because I have crapped the
bed so many times. Well, you know, and this week
got him.
Speaker 1 (08:45):
I kind of went to, uh, we have a cover,
a cover of a nineteen eighty four George Michael hit.
That feature is none other than your favorite soprano saxophone artist,
the one and only Kenny G. Kenny G. This is
a cover from a rock band from San Francisco that's
(09:07):
similar in style to The Counting Crows. Okay, okay, I
I'm already not having a lot of confidence. Yeah, this
was like, you know, this was my attempt to find
songs that our theme with the episode. I know it's
going to be terrible, and I know you're not going
to get it, but it's funny and we can make.
Speaker 2 (09:22):
Fun of it. Okay, well, well let's do that. Then.
Oh my god, I can't believe this is even right.
So this is George Michael.
Speaker 1 (09:34):
I think you probably recognized the saxophone part and the
lead part.
Speaker 2 (09:38):
Yeah, so the song probably gets the song a little bit. Uh,
I'm trying to I was never.
Speaker 1 (09:47):
Well, this isn't Kenny G. He's just featured on the
song doing his thing.
Speaker 2 (09:51):
Of course, know that the song itself, but the name
of it again, I admittedly was never right.
Speaker 1 (09:58):
So Ca Carroless was Caroless whispers the song? But can
you recognize the vocals and who.
Speaker 2 (10:05):
The band is?
Speaker 1 (10:07):
That's what I thought you may get, but I'm not
sure because his range is a little bit different. I
was surprised, but the only the only thing I could
tie into accounting cross was that there were in San Francisco.
Speaker 2 (10:19):
Basically, I did such a terrible job. Oh my gosh,
you're gonna have to give me a minute on that. No, No,
it's okay because it took me a while. It's not
Maroon five or something. No, it is not Maroon five. No,
I don't know who this is, but kind of.
Speaker 1 (10:38):
Poppy and the band name has to do with a
mode of transportation.
Speaker 2 (10:46):
See. I was wondering if it was trained, because I
know they're from the Bay Area. Yeah, it was trained.
Speaker 1 (10:51):
Yeah, but you notice like his vocals are very softened
for the song.
Speaker 2 (10:56):
Yeah, it was really interesting. The vocals. I didn't catch
it at all because his he normally has a very
different vocal tone than this.
Speaker 1 (11:02):
Correct, that was interesting about me, Like one, I think
it kind of I genuinely thought train, right, I was like,
but that's not his vocal. I know, I don't That's
what was interesting about the song. Like, I was like,
you're gonna be a little annoyed when you find the
answer because I've never heard this guy more, just like,
what are you doing? That's like, why cover this song
(11:23):
with Kenny G?
Speaker 2 (11:24):
Exactly? I don't understand. Yeah, it does not compute, no, like,
but okay.
Speaker 1 (11:32):
I would think an acoustic version of Careless Whisper with
a nice guitar.
Speaker 2 (11:36):
Arrangement done in his normal vocal tone.
Speaker 3 (11:39):
Would be amazing, would be a lot better.
Speaker 2 (11:41):
And if you just had to bring Kenny G, bring the.
Speaker 3 (11:44):
Guitar in the electric even to do the solo.
Speaker 2 (11:46):
But yeah, lord, okay our banjo, you could even folk
it up, do a banger, yeah, mandolin, something like that
would probably be good. Yeah, Tody did it with heretics
train Okay. W Tyler, I'm I'm a little shaken right now,
but all right, well, you know, maybe you just have
a Careless Whisper. Okay, let's just move on to the
album Please Thank.
Speaker 1 (12:09):
You, released on September fourteenth in the year nineteen ninety
three on the Giffen label. August and Everything After is
the debut studio album by San Francisco based band The
Counting Crows. Clocking in at a total length of fifty
one minutes and forty two seconds, August and Everything After
consists of eleven tracks. In the background you hear, the
(12:31):
first track off the album and second single, titled round Here.
Round Here, was released as a single on June twentieth,
nineteen ninety four, and clocks in at five minutes and
thirty two seconds. The song peaked at number thirty one
on the Billboard Hot one hundred airplay chart.
Speaker 3 (12:47):
Yeah, I did pretty, pretty freaking well.
Speaker 2 (12:49):
Honestly, I know that it was in the top ten
or eleven across multiple different Billboard charts. Yeah, I think
alternative airplay mainstream rock beaar play number seventy in the UK,
I think. But so, this song still gets me to
this day, like that opening riff with Tuggy's Underneath a
(13:09):
little bit does Mandam Durretz is just very soulful vocals.
This is one of the songs where like it just
works man, and I love the slow build of the song.
Throughout It's just keys, guitar and vocals in that first chorus,
with the drums and the bass coming on in the
second verse. And there's a lot of bands that like
cover this, oh and they just do amazing versions. Yeah.
(13:30):
I was only fourteen when this song was released. Yeah,
it actually was written in nineteen eighty nine, but I
was freshly moved to Arkansas. Yeah, whenever this came out, Yeah,
it was a it was a tough, tough year, and
so this song resonated with me from the very first
time that I heard it, just because again, it was
a it was a really brutal relocation, and while I
(13:53):
was happy to be in Arkansas, there was a lot
of traumatic abuse that kind of happened to me around
that time. Yeah. And I don't know if it's just
you know that or just the desperation of the song,
but this one never has gotten old. Still to this day,
it's one of the songs when I hear it's just
like oh man, heck yeah. Yeah. And I was.
Speaker 1 (14:12):
This album nineteen ninety three. So, like we've talked about
this whole past episodes, I had changed during that time
as well, Like my family was not doing good and
around that time, you know, we had Dad lost his job.
You know, we've been, you know, without financial stability for
a long time.
Speaker 2 (14:30):
We'd moved in with my aunt, we'd moved back to Arkansaw.
Speaker 1 (14:34):
So a lot of songs in this album and just
I think the depth of the lyrics, the tone of
the album, just the kind of got me through in
a tough spot, right. I think a lot of people
kind of braced. It was very different at the time
because you're coming off, you know, the the end of
that grunge cycle.
Speaker 2 (14:54):
Yeah.
Speaker 1 (14:55):
Yeah, but you know this actual I was just mentioned earlier,
but the song was actually written nineteen eighty nine and
it was when Adam Durretz was with the band the
Himalayans the Himalayans, so it kind of came from that,
but it was actually a way different version.
Speaker 2 (15:09):
And I think it's when Counting Crows kind of put
all this together. The band as a whole kind of
redid it a little bit. So it's maybe what it is.
It's really good, man, I guess a classic. It's one
of those that's going to be around for a long time. Yep.
Speaker 3 (15:22):
All right, man, let's move on to the next one.
Speaker 2 (15:24):
All right.
Speaker 1 (15:26):
Omaha is the second track off the album, and then
clocks in in three minutes and forty seconds, you know,
opens up with the strong track the album does. And
then you have Omaha, which just continues with the Durret's
astound capability for composing lyrics.
Speaker 2 (15:40):
Yeah. So I have a confession to make about this album. Yeah,
until this listened through, I owned the album on CD.
Bought it on CD. YEP. When I bought the album,
I only ever listened to the first three songs. Oh yeah,
this is the first time you listen to it all
the way through, the first time I listened to it
all the way through. Now I recognize some songs. There
are some songs I heard like on Lithium or you know, otherwise,
(16:03):
but maybe like on a in a movie soundtrack or
a TV show or something like that. But for the
most part, this was my first real listen through. But
this song was kind of sandwich between my two favorite
songs on the album, and so I listened to it
many times just because Colleen, it's a good song. I
don't know, I couldn't really tell you what I like
about this song. Maybe it's the chorus kind of reminds
(16:25):
me of the town that I lived in up there
in Northwest Arkansas a little bit. Yeah, you know, it
feels like it's a good transition I think between I
think it's on here, mister Jones. Yeah, it just works.
It's good. It's a good song. It's it is. It's
definitely a good song. We'd be remiss if we didn't
talk a little bit about this album's legacy, though, I
(16:46):
think so Rolling Stone has This is number sixty seven
on the one hundred Best Albums of the nineties that
listens from twenty nineteen. It went seven times platinum in
the US and Canada, platinum in a lot of the
Commonwealth countries Australia, UK, New Zealand. When Golden Spain, ten
million copies were sold worldwide of this album. So obviously
(17:09):
it resonated with a lot of people. And whether or
not I was one of them, we'll get to that.
But this is a great song. Yeah, it's always one
of my favorite albums. I you know, I've said this before.
I it's one of my favorite albums. It's in my
you know, it's it rotates kind of. It's always in
the top twenty. Sometimes it's in the top ten, gotcha.
(17:29):
Sometimes it's in the top five. But it would you
say that that is more a product of the quality
of the album or more a product of when it
came out in relation to your own life experience.
Speaker 1 (17:42):
You know, that's a very good question, and I believe
it's because it's a good album because some of these songs, while, hey,
they resonate with situations back then, I'm not in those
situations anymo.
Speaker 2 (17:54):
Yea.
Speaker 1 (17:55):
When I listen to the album now, I don't think
back to those situations. What I do is think about, Wow,
that's a really good song. Look how that song identified
with a person or those people, and while how is
this composed? How are they getting that layers Like I
just enjoyed listening to the album. I think at this point, God,
that's why it rotates in and out. Now you know,
(18:16):
it's one of those and I tend to want to
listen to it as a whole album and not just
individual songs.
Speaker 2 (18:22):
Gotcha, Okay? Now, is there some nostalgia around it? Yeah?
Speaker 1 (18:28):
I can't admit that there's not that. I wouldn't say
that it's that nostalgia. That's not that nostalgia is not
the reason why.
Speaker 3 (18:36):
It's It's not the driving factor behind your like of
the album.
Speaker 1 (18:39):
No, it's just kind of the pace of the songs,
the way they're composed, some of the lyrics, the vocal range, gotcha.
Speaker 2 (18:46):
You know, it's just a lot of powerful emotion on
the album. That's what I like.
Speaker 3 (18:50):
I would agree with that, there is a lot of
powerful emotionss.
Speaker 2 (18:52):
I just did the whole final thoughts right there. But
that's okay, Well, hey, all right, it doesn't get much
better than this one, I know.
Speaker 1 (18:59):
The single and most popular track from the band Counting
Crows is track three, titled Mister Jones. Mister Jones clocks
in at four minutes and thirty three fabulous seconds, as
was released as a single on December first, in the
year nineteen ninety three. The B side of the single
is raining in Baltimore In Baltimore.
Speaker 2 (19:17):
Okay, so this one, it was obviously huge. It was
number two on pop airplay. I mean it was mainstream rock.
I'll turn to airplay. I think it was number two
on all of those very recognizable opening riff. Yeah, yeah,
this So this was certified platinum in multiple countries as
a single. From the opening a minor chord, you know
(19:38):
exactly what you're hearing when this one starts. Yeah, I mean,
it's kind of unmistaken, the whole doom doom, the way
it just Yeah, and you know, I couldn't get enough
of this song when it came out. I'd hunt radio stations, yeah,
just for even a short listen of it when I
didn't have my CD player handy. Yeah. Right, So such
a single chorus, simple progression, the chiming guitars, I would
(20:02):
swear he used a rick or Bocker Rickenbacker on this song. Oh,
they just for the guitar part.
Speaker 3 (20:08):
I think they used a Ricken Backer for the rhythm
guitar part. Man.
Speaker 2 (20:13):
The female TV Jones pickups, yeah, probably some probably something
with something just with a lot of chime to it.
But whenever you get to the later chorus, the female
harmonizing under the second chorus, that extra dynamic just adds
so much to that chorus. Man, it is just a
really great song, I mean, and get much better than
mister Jones. And to me, it's the quintessential song off
(20:34):
this album, followed extremely closely like one A, one B
by round here. Yeah alright, man, so let's move on
all right. Next on the list is Perfect Blue Buildings.
It's the four track off the album yeah, I got
there right.
Speaker 1 (20:51):
Yeah, track off right that clocks in in five minutes
of one second.
Speaker 2 (20:56):
Did you think mister Jones was overplayed on the radio.
Speaker 1 (20:59):
We've gotta talk that. I've meant to mention that. No,
to be honest with you, do you did you like
how this transition from an upbeat song to something more
somber for mister Jones?
Speaker 2 (21:10):
No? I did not? You did not like? No, I
think it needed something to kind of help maybe ease
into this is like the fifth track rather than the
fourth one. Yeah, I'll be honest, if you're coming off
of something like mister Jones into something like this, my
attention immediately disappears.
Speaker 1 (21:26):
Yeah, That's where I struggled a little bit, Like when
you know, when I'm picking something apart and I think
we just do that.
Speaker 3 (21:35):
Sure, Yes, side is twenty twenty, you know. I mean
I would want to like.
Speaker 1 (21:39):
Come something that's like in the same feat or rhythm
as mister Jones, or you know, at least something that's
up tempo a little bit more compared to bringing it down.
But I really like Perfect Blue Buildings. They could have
taken rain King and stuck in it, right. You know,
I was just thinking the same thing as like why
put rain King on the first side and swap it
with Perfect Blue.
Speaker 2 (21:59):
Building because you still have strong track, at least one
strong I'd say two strong tracks towards the end of
the album as well, that could carry a side too. Well. Yeah,
I mean I think, yeah, yeah, I agree. But this
one honestly just kind of fades into the background once
you get past mister Jones. I personally there's a lot
of this album that fades into the background right well.
And in the track itself is a beautiful song.
Speaker 1 (22:21):
The lyrics are pretty deep, and I think it's like
it's about a guy that's dreaming of being in a coma.
Like it's it's a pretty deep song if you read
some of the background behind.
Speaker 2 (22:33):
How Adam wrote a lot of these songs. That's what's
really interesting about that.
Speaker 1 (22:38):
I think that's part of the reason why I like
it is when you know the he just did an interview.
Speaker 2 (22:42):
There's an interview with like Rick Byatto. It's out there
on youtbm for like probably maybe three or four weeks now,
But a lot of interesting things when he talks about
some of the songs and what he wrote and how
he kind of came across and for a debut album,
it's not bad, No, not at all, you know. But
a lot of these guys like he, you know, and
he tells the story of like when he figured out
(23:06):
he was going to be a songwriter, how he kind
of came to that conclusion, and how he built from that. Obviously,
these guys have been there was a lot of work
I think in that Bay Area musicians, and then when
they got all that together and started composing some of
this stuff with his Darts's lyrics, this is the product down,
(23:26):
all right. So moving on to the next one. Number five,
Numero le Sinko Go numeros sino Numero sinco and it
Begins is the fifth track off the album. Clocks in
in four minutes at thirty two seconds. Another song about
another individual and the lead singer's life. That's what this
one is.
Speaker 3 (23:47):
Yeah, So I admit, the verses don't grab me.
Speaker 2 (23:51):
They just don't. The chorus is pretty good, yeah, I
mean it's good enough to keep me around. Otherwise the
one is just kind of there for me. And I
know this is like a fan favorite song. A lot
of people really like this song. I admit, I just
think there's far stronger tracks on the album. Yeah, not
that it's a bad song. It's not my cup of
(24:12):
tea overall. Again, the chorus, I think the chorus is
really good, but these verses are just kind of like.
Speaker 1 (24:19):
Yeah, well, I mean, I think it all depends on
what you're getting from the song and how you listen
to it.
Speaker 2 (24:23):
Yeah, I'm not a guy that dives into lyrics a
lot of the time. There's some songs where like it's
unmistakable how powerful lyrics are, but this he has more
nuance in the way you have to kind of be
in on the the story a little bit. And I
admit those those kinds of songs, I usually tune that
kind of stuff. Oh you see to me like I
(24:43):
never I don't even think I told you about this,
But I used to do write poetry and stuff and
a lot of other things and like kind of write lyrics,
and so I really identify with some of that, and
I think that's why I listened to it. But you're
you know, you're more on the I'm more on.
Speaker 1 (24:58):
The music side, right, that was always my strength and
if that and I've noticed just if the rhythm section,
like if something's just kind of grooving along, but there's.
Speaker 2 (25:09):
Not a lot of change or a lot of depth.
You tend to not You're like, hey, that's good, but
you don't tend to relate to songs.
Speaker 3 (25:18):
I'm just true, you know that is I mean, you're
in observation.
Speaker 2 (25:20):
You're not knocking me by any means. That's the truth.
Speaker 1 (25:23):
But I think it's a part when we talk about
these albums, like you're getting from two different really perspectives.
Speaker 2 (25:29):
I'm self realized enough to say that that is absolutely true.
But at the gain, like, what to your point we
come at this from very different perspectives. Yeah, I'm a
long time like forty plus years of music, whereas you
come on it from more like your I don't want
to even put the words in your mouth.
Speaker 3 (25:47):
You would know better than me, Like what bent you
come with?
Speaker 2 (25:50):
When? Yeah?
Speaker 1 (25:50):
I mean I like, yeah, and I come with you know,
everyone's got baggage, right, so everyone comes into listening. I
think anything that inspires you or you can really to
you come with some type.
Speaker 3 (26:01):
Of emotional package and then I'm sorry, go ahead.
Speaker 2 (26:04):
Yeah.
Speaker 1 (26:04):
And then you know I had a more art background
and you know, a music background, poetry background. Yeah, so
it was a lot of and then I switched over
to kind of math and science right during the kind
of this transition.
Speaker 2 (26:17):
But those are the words stick out to you more
than perhaps, right.
Speaker 1 (26:21):
But unless it's a guitar, right, and but all of
these like the drum riff, it's almost a jazzy type
of riff. So I'm finding that based on what I
learned to play in the styles that I gravitate to
as I progress as my attempt to be a musician.
That's where I gravity, right, and this album and our
(26:43):
discussion is actually like this is as when we do
all these freaking episodes like you start kind of let go.
This is why this type of person may like this album,
but you also may benefit from it, depending on you know, your.
Speaker 2 (26:58):
Back there's different strokes for different folks. Yeah, yeah, it's
just interesting. Yeah, all right, man, let's move on to
the next one and to get another random conversation about
another track on the album.
Speaker 1 (27:09):
We entered the halfway mark and track six is titled
Time and Time Again. It's another five minute, thirteen second
type of tracks. Very mellow, mellow, a little bit long.
Speaker 2 (27:23):
You know, I would put it on in the background
if I just wanted some background noise.
Speaker 1 (27:27):
Oh, you're working. It's a kind of a working music. Yeah,
we're in the working sections.
Speaker 2 (27:31):
Nothing that really demands your attention. No, you're not lifting
weights while you're listening to this, O lord, No, oh geez,
what kind of weights are you lifting if you're listening
to this lightweights? Right, exactly. It's a volume workout. Yeah,
it's a volume you're happy, you're getting hypotrol happy, and
you're trying to get something that will bring you back
down there.
Speaker 1 (27:48):
Are you're sore or a it's a maintenance day. It's
a recovery day. That's why you would listen to this
in the gym. Yeah, if you're just doing machines and
cable work and you're trying to you know, you're on
a focus workout instead of foundations for sure.
Speaker 2 (28:03):
So I'm realizing as you get in decide too that things,
I mean, not all of them, but man, we're getting
into like what I would say is definitely the more
mellow side of the album. Yeah. Well, and I like
a mellow album when I'm just listening sometimes, sure, and
I think this kind of is my went essential mellow album.
Speaker 3 (28:23):
This is yeah and just fits that bill for sure.
Speaker 2 (28:26):
But yeah, again, this is I would stop short of
saying that it's not a good song, absolutely would stop
short of that. I'm I would say that it's basically
just that very mellow music that if you're in the
mood for, it's perfect for that. I don't find myself
there frequently, and when I do, I tend to gravitate elsewhere.
But if you are Accounting Crows fan, then this is
(28:49):
and you're in that space, then this is a good one. Yeah.
Speaker 3 (28:52):
I mean it's a good song. Yeah, it is a
good song.
Speaker 1 (28:54):
I would say it's probably the least favorite album. Like
sometimes if it shows up and I'm listening to it,
just like on Apple Music, I tend to skip over
that one.
Speaker 2 (29:04):
Yeah, But if it's on when I'm playing the vinyl. Yeah,
But I did you know, I got a CD player
and I actually had this CD and I put it on.
Speaker 3 (29:13):
Got it buried somewhere as well, and actually skipped this track.
Speaker 1 (29:18):
You didn't know, Yeah, because I was like, oh, I'm
gonna listen to the CD while I kind of work
on the notes, and I was like, oh, this is
time and time again. It's a good song. I just
didn't feel like listening to that track. I feel you
all right, So I had two different listening experiences. I
listen to it on the vinyl and I listen to
it on the CD three and I listened to it
on the streaming service.
Speaker 3 (29:34):
So all right, so let's get into the next one.
Speaker 1 (29:37):
Rain King, the third single that was released on October third,
nineteen ninety four, is the seventh track off the album.
Rain King clocks in at four minutes in sixteen seconds,
you know. The B side of this single was track
number five, and it begins. The title of the song
is in reference to Saalbellows Henderson The rain King.
Speaker 3 (29:59):
I never heard of that before. I think it's a book.
Speaker 2 (30:01):
Okay, okay, So this is when you talked about when
you ask about mister Jones being overplayed on the radio.
Speaker 3 (30:07):
This is the one that I felt like the radio.
Speaker 2 (30:11):
This was it. They kind of killed any potential that
I might have had to enjoy this. Yeah, and there's
several songs out there like Oasis, there's a few Wonders, Wonderwall.
They killed any desire I might have to like it
by playing it constantly well in this album is kind
of to me. It's I imagine that when we get
(30:31):
to the end of it, the response is gonna be
similar to what's the story of Morning Glory? Yeah? Right, yeah,
when you look at I don't feel like this is
one of Adam Durtzs's best vocal songs. I feel like
his range is limited on it. He's got a great range.
He is a unique voice. You instantly recognize it when
you hear it, and I felt like this one just
kind of dummed it down. If I'm being honest, I'm
(30:53):
not saying musically there's not a good song. It's a
very simple progression, but they do some They do some
cool little things in there, like right here the electric
guitar underneath that line. It's good stuff. It's just man,
I felt like they put the limiter on his vocals.
And yeah, it's my least favorite of the three.
Speaker 1 (31:13):
Main lyrics it oh yeah, We're it's not the tone
of his vocal range.
Speaker 2 (31:20):
He's just lyrics itself. It's the lyrics. Well, the lyrics
keep him. It's like they limit him to a shorter
range musically. We're around here. He gets up there, but
he also gets lower and like there's more like that dynamic.
I feel like this one is just so just kind
of like it's level. It's level, and it just bores me.
(31:40):
I hate to say that, but it kind of bores
me vocally. Musically, it's a good song. So this is
background bar music. It's exactly background. I would say if
I'm if I'm at a bar hanging out with my buddies,
We're all just sitting around drinking beers, laughing, and this
is playing.
Speaker 3 (31:53):
It's like, Okay, it's fine.
Speaker 2 (31:54):
Actually, that's a really good idea. We need to do that.
Sometimes we haven't done that well. All right, So next
one eighth track all the album is titled Sullivan Street
clocks in at four minutes and twenty nine seconds. So
the harm I think the female background vocals on this,
the harmonization with Adam Duritz, Yeah, that's the highlight of
the song. Well, I think this is overall a very
(32:15):
I think it's a beautiful song.
Speaker 3 (32:16):
It's a great song.
Speaker 2 (32:18):
I'd have liked to hear some distorted guitar like gentle
like maybe like that Rickenbacker with those TV Jones in there,
if that actually was what they used, with a little
bit of distortion on them. I felt like the song
could have benefited from just being brought up a little
bit with something like that, like a transparent overdrive. But
I mean, honestly, it's a great track. Otherwise, I really
(32:40):
like I said, love the backing vocals in the way
that she harmonizes with Adam Duritz.
Speaker 3 (32:45):
To me that is it's fantastic. Yeah, I would agree.
Speaker 2 (32:48):
Yeah, I mean, it's not necessarily a song I'm gonna
go seek out all the time, but I think that
it's definitely one of the stronger ones amongst the standard
album tracks.
Speaker 1 (32:57):
I think I know where you're getting that chiny sound.
So you know, we are in the twenty twenty five
in the world of AI and according to AI that
David Bryson primarily used in nineteen fifty six Gibson less
Paul Junior's Junior with P ninety, So it's gonna have
that dog ear P ninety, which is going to be
(33:18):
more in that middle position in between you know that
twenty four, which is gonna give you a three quarter
scale maybe super Treppi, but it's gonna give you more
chime buying court.
Speaker 2 (33:27):
It's nuts. It's the mids, I think, is what you're hearing, right,
So it's gonna pull out the mids, I think, Yeah,
Interact that's what that makes sense. Yeah, yeah, I actually
used to have one of those, like a newer model,
but I used to have one of those Less Paul
p nineties.
Speaker 1 (33:40):
Yeah, well I've got a I've got a Less Paul
an epiphone TV yellow special about a husk for like
two hundred and fifty bucks after a set of P nineties,
and that sounds great. And then I just bought a
I found a special warmouth p ninety telecaster body like
on their clearance.
Speaker 2 (33:54):
So and then I bought a Uh, you gotta make
a telesonic style. Do you ever see the telesonics Fender
did for a while.
Speaker 1 (34:01):
Yeah, I kind of love that guitar, so I'll have
to send you some pictures. But I was able to
find a Gibson scale telecaster neck with a nitro finish,
super thin, like vintage mapel. It's all satin and it'll
just kind of look like a mesh between like a
Les Paul and a telecaster.
Speaker 2 (34:22):
Cool.
Speaker 1 (34:22):
So I'm hoping it gives me just raw bluesy kind
of sound and that way, like Less paulse can just
stay in their case with humidifiers in it.
Speaker 2 (34:31):
And uh, you know, gain value and gain value all right,
so let's move on to the next one. Yeah, well,
we have a kind of gone off the rails on this.
Speaker 3 (34:40):
That's okay, we're just having fun talking.
Speaker 1 (34:43):
So ghost ghost Train is the night track off the
album and clocks in in four minutes one second. I
can be honest with you on ghost Train, you know it.
I'm finding a lot of these like round here, and
a lot of them at least on the mix, the
CD and the vinyl. There's a lot of a space, okay.
Speaker 2 (35:03):
Like it's like, I'm not sure what Like I've found
on the.
Speaker 3 (35:06):
CD, there's a lot of room for something else to
be in the.
Speaker 1 (35:09):
Yeah, it's like when they started, there's just this dead space.
And I don't know if it was something in the nineties,
but I've noticed like round here when I press play,
and even on the vinyl, it's.
Speaker 2 (35:18):
Like five seconds of dead gotcha. I don't know why
that is.
Speaker 3 (35:22):
It's just interesting.
Speaker 2 (35:23):
I feel like they're trying to maybe fade in a
little bit, like maybe when you listen to round here
that little gap, because it's present on the streaming version
as well, there's a little gap there. I felt like
maybe they're just kind of trying to bring the volume
up without anything playing to kind of prime the guitar
for that opening riff. But that's what I gathered they
(35:46):
were trying to do. I could be entirely wrong and
it would not surprise me, but so ghost Train. The
most interesting thing to me about this song is, I
don't know if you've ever heard of this band called
Between the Buried and Me, progressive metal core band. I've
heard of them. I've actually uh, I went to a
music festival and they were playing. But they take their
(36:09):
name from the line fifty million feet of earth between
the Buried and knee in this song. That's where they
got their band name. A progressive metal core band getting
their name from a Counting Crow's song. That's very melo.
That's just interesting to me. That's really funny.
Speaker 3 (36:26):
Other than that, I didn't really care for this song.
Speaker 1 (36:28):
I think Raining in Baltimore, which is the next track
off the album Let's Just Go There, would make a
great name for like a emo band band and emo band, yeah,
raining and balta Raining in Baltimore, I mean that sounds
perfect for an emo band. Yeah. So Raining in Baltimore
was the b side to the first single off the album,
and the clocks in. It's that kind of sub five
(36:51):
minute But you kind of get in this range of
the album where the song's length and a billion they're
less poppy, they're more mellow, right, and so you've got
to be in a certain frame of mind to listen
to the Yeah, Honestly, after the last few songs, it's
kind of like, well, I'm losing my attention. Well, you
(37:11):
you have to be. It's right from my mind, depending
on what you like to enjoy. Like if you're this
isn't an album you can put onto the background when
you're working on stuff. You can't work out to it.
Not to say it's not a great album, it's just
not an every day It is a vibe you have
to be in the right head space to really appreciate.
Speaker 2 (37:30):
But when you are, it's great. Listen.
Speaker 1 (37:33):
Yeah, I mean I think you know, you've had a
hard week and you get that big you know, fore
finger glass of bourbon on a single rock it's in
your chair, You head back, you need to, you need to,
you know, process, You put this on the background and
start processing, because that's that's the type of just kind.
Speaker 2 (37:51):
Of album it is. Yeah, I don't have a lot
to say about this song again for me, Let's move
on to the next.
Speaker 1 (37:59):
One of the last track on the album is a
murder of one, which clocks in at five minutes and
forty four seconds. This song was actually featured on the
TV sitcom Scrubs and that episode was titled The Porcelain God,
so it was featured the toilet on a song on
(38:21):
a The song was featured on a sitcom episode that
was titled about a Toilet and was featured on season three,
episode nine that was titled Apologies from the FX series.
We both like the bear the bear. Yeah, so it
gets one point for just being on the bear. And
you know, it's a good song because the bear. Whatever
(38:41):
music they put on that show.
Speaker 2 (38:42):
Music director for that shows a genius. He puts nothing
but relevant, good stuff based on the moment. It's one
of the things about that series that makes it great
is a basic director's taste and finding the perfect moments
and the perfect songs to go in those moments. The
dudes amazing, whoever you are, My hat is off to you. Yeah, yeah,
it was just this is a great song. It is closes,
(39:03):
It closes the album really good. It does. Yeah. I
like that they bring it back up for this. I
love that effects leaden guitar, some nice distortion. I vaguely
remember hearing this one on Sirius XM Lithium a while back,
and honestly, yeah, I thought I couldn't remember this track
is in. I didn't get past track three whenever I
(39:23):
had the album, but I thought it might have been
from a later album. But it just kind of it's
interesting that the band waited to put this until last
on the album. It has more of a feel of
like a second or third track from the end, to
kind of bring things back up after the mellow fest
that we just went through. But you know, hey, it's
a great song. It's got a catchy chorus. I like
(39:45):
the nice, gentle harmonizing vocals under the chorus, more electric
and less acoustic. Finally, right, man, it's a.
Speaker 3 (39:54):
Really good song.
Speaker 2 (39:55):
YEA like the song. Like so the album.
Speaker 1 (39:58):
You know, we've been talking throughout the APIs so about Hey,
is it nostalgia or do you really like the album?
You know, I always try to second myself, second guess
myself when I'm thinking like that, but I really, when
I look at kind of the album, for me, it's
not like a ten, right, sure, And I was like, well,
listen to nine for me.
Speaker 2 (40:18):
And I was like, well, it's not this.
Speaker 1 (40:20):
I like listening to it, but it's not one that
I go grab all the time, so I don't think
it's a nine. And I was like, but it's probably
a good seven and a half, solid eight for me
in terms of rating the album based on how I
like what I like, and you know, some of that
is probably based on the emotional connection I have. But
I do like to listen to the full album. But
(40:40):
I have noticed that I do have to be in
the right friend of mind. It's not an every day
of listen.
Speaker 2 (40:44):
Sure.
Speaker 1 (40:44):
Now some of the tracks are like round here, I
can listen to that every day, mister Jones, I don't
really get tired.
Speaker 3 (40:51):
I love those songs. I can listen to this song.
Speaker 2 (40:53):
Yeah, it's really good and.
Speaker 1 (40:56):
It begins I kind of you don't like, but I
kind of like it just from the posher aspect of it. So,
I mean, there are songs that I'd like to listen
to very often, but the album itself just.
Speaker 2 (41:08):
Have to be in the right mind.
Speaker 1 (41:10):
Gotch really great that I got the first CD run,
even though I don't have the case anymore, because I
threw all those away. It just got the CD's of
my biner and really cool that I got the vinyl.
I'm glad I got the vinyl. Right when you collect something,
when you have something, you know, you want that emotional connection.
Speaker 2 (41:26):
So for me the.
Speaker 1 (41:27):
Album, it's probably why I like the album. I'm sure
one of the reasons I really like the album the
way I do is because of that emotional connection. So
I can't really even though that's not I don't use
that as a reason to listen to it. There is
that nostalgia that I think is making it rank higher
(41:49):
than what.
Speaker 2 (41:49):
The average listener would probably like. Gotch or you know
someone that's a big grunge person or something. I don't know.
I'm sure so this one I gave it a six
out of tack, Okay, a little lower than you. The
only reason being is because I wish that it was
a little bit less of a you have to be
in the mood album. Yeah, I mean to me, I
(42:13):
appreciate the most albums that have a little bit of everything.
This one has a lot of one thing and then
a lot of another. And I should say a little
of upbeat and a lot of not and there's not
a whole lot of in between there. And I guess
that's the one thing that really Yeah, I knocked this
(42:35):
album for but I have to also acknowledge the fact
that it has had a huge influence on an entire
generation of music. Yeah, it might not be my taste,
but I can't say that it's not a great album.
I actually think it is a great album when you
look at it from a legacy perspective, I would just
if I wanted to get into this era and pick
(42:56):
something that to me hit the boxes that what you
talked about out, I'd probably go more to like the
Gin Blossom's New Miserable Experience, right, because to me, I
think that's more my what that's to me? What this
is to you? Yeah, yeah, I can see that. Yeah.
So but regardless, I think it's a great album. It
gets a six only just because again, like the tracks
(43:18):
I don't like, I really don't like, But the tracks
that I do like, I really do like. My rating
is almost kind of deceptive. I would say that maybe
six out of ten doesn't sound fair to some people,
but I think that's that's more for my taste. If
I'm looking at it from a legacy perspective, I'd say
it's like a solid eight, solid yeah, yeah. So if
(43:39):
I had the land in the middle of those, I'd
say it's a seven, but six for my personal taste, Okay,
all right, man, hey with like with that, with like
that and just like that and just like that. Jeez,
it's been a couple of weeks.
Speaker 3 (43:51):
Man, it has man.
Speaker 1 (43:52):
And just like that, we close another episode of The
Ventures and Vinyl. If you like the music featured on
this episode, check out the website for today's episode. You
you get links to Apple Music for all that cool stuff.
If you want more information on the Counting Crows, well,
you know, these guys should have a website. It's at
www dot Countingcrows dot com. The Counting Crows actually have
a new album out called Butter Miracle The Complete Suites.
(44:16):
The Counting Crows are also on tour with the Gaslight
Anthem Hey this summer in the US. The closest they
will be to the central Arkansas area would be Nashville, Tennessee,
or Durant, Oklahoma. They're actually playing in one of the
chalk Taw casinos and Lovely Durant, Oklahoma, which is like
four hours.
Speaker 3 (44:33):
That's probably the closest rock Yeah, yeah, I think that.
Speaker 1 (44:35):
And actually looking at the tickets, they're you know, press
range kind of amphitheater.
Speaker 2 (44:40):
You know.
Speaker 1 (44:41):
So like if you're in your forties and fifties, want
to go see County Crow, want to take the wife girlfriend,
need to be able to sit down and need to
be able to sit down, you know, Durant, Oklahoma is
probably a good venue.
Speaker 2 (44:52):
It's our reality these days.
Speaker 1 (44:53):
I know, we were looking at like literally and I
were talking about social distortion up at the JJ's live
and I was like, guys, I don't understand.
Speaker 2 (45:00):
Man, way too much money to have to sit down.
There's like to get a tea Bucks on floor seats
and then if we want a mes box, we gotta
get eight seats and it's one stool. And then we
got to find like seven people, like a bunch of
people to fill the mess. And I don't know that
many I my on clouds aren't thick enough to be
on that ground floor. I mean it's bad enough.
Speaker 1 (45:21):
At blank one AD two, we're like, no, we're gonna
bring blankets and sit on the lawn.
Speaker 2 (45:26):
Well, Donnie couldn't get us the box. Apparently, that's our right,
you know it's blank. We'll live on the Alkaline Trio
with them, which to me that's almost more of a
selling point.
Speaker 3 (45:34):
Yeah, I haven't seen them live before.
Speaker 2 (45:36):
Yeah.
Speaker 3 (45:36):
Well hey, well not for having for five twenty plus years.
Speaker 1 (45:39):
Yeah, but anyways, well hey, if you enjoyed this podcast,
be sure to check us out on our website at
www dot Adventures in Vinyl dot com, where you can
find links to all of our episodes, and through our
support section you can find a place to order your
very own Adventures in Vinyl t shirt. Follow us on
Instagram at Adventures not in dot Vinyl, and be sure
to subscribe to the podcast to leave a review. Recommend
it to your friends if they like careen looking for
(46:00):
new music, so you should listen to these two dumb
butts on your favorite streaming platform because they don't know
what they're talking about, but sometimes they're a little bit funny.
You can follow Adam on Instagram at eat dot Prey
dot arm Bar and myself at Todd David Warden With that,
I'm Todd ward and I'm Adam barrass and we will
see you next time whenever we get around to doing another.
Speaker 2 (46:18):
Episode of Adventures in Vinyl.
Speaker 3 (46:21):
How accurate that is. I know it's so bad, life happens.
Speaker 2 (46:28):
I know it's busy playing Daddy Taxi service to do
more podcasts.
Speaker 1 (46:37):
Well, and I just like it that none of our
fans post comments on anything, so it's not like they care.
Speaker 2 (46:44):
We'll see you next time. Later
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