I am generally a Counting Crows fan, yes, but even I will admit there are certain recordings where lead singer Adam Duritz takes it just a little over the edge into cringe-territory. In his and the band’s defense, both have been through a lot since the days of Mr. Jones (from their first album) and have matured quite a bit. Their live album New Amsterdam: Live at Heineken Music Hall, however, is truly a culmination of their careers and their musical genius.
Although the album has been out a few years now I’ve only recently gotten around to obtaining it because I’ve been trying to manage my money more effectively and get some things out of the way. That being said, I’m sorry I waited—this album is worth every penny.
The album isn’t the typical Counting Crows live album such as Across the Wire or the live disk of the August and Everything After re-issue. Those albums feature the typical early Counting Crows set with songs like Mr. Jones, Anna Begins, and Sullivan Street. The setlist of this album is a matured one that breaks free from their earliest successes and embraces not where they came from, but where they’ve managed to go.
For the most part, I didn’t recognize the songs. A Counting Crows purist might scoff at me for that, but I’ve only really dug into the band’s music over the past year—and generally starting from the latest album and going backward.
Rain King. The album starts off with Rain King, a classic Counting Crows song. However, this isn’t anywhere near the original song from their first album—it’s better. I’ve always thought the original had too much going on in it at once, and other live versions I’ve heard of it were even more overbearing. The main problem I have with those versions is the music—particularly the overdriven organ!—generally overpowers his vocals in emphasis, and you miss the lyrics—which are very nice. The version of Rain King on this album is very close to the acoustic version featured on Across the Wire, and is really a pleasure to listen to.
Richard Manuel Is Dead. The second song in the set is Richard Manuel Is Dead, which is actually a different name for the same song If I Could Give All My Love off their album Hard Candy. Although this song is a little heavier than the opening song before it, it’s still relatively easy listening.
Catapult. For most of this song the focus is entirely on Duritz’ vocals—which are particularly strong—but in the latter half the tempo and volume picks up quite a bit. It’s still listenable, though, and features some pretty great guitar work.
Goodnight, L.A. Although this isn’t my favorite version of the song, the version of Goodnight, L.A. featured on this album is very nice. I’m a big fan of the lighter, piano-driven songs by Counting Crows. Duritz excels in these songs because of the sheer amount of feeling and emotion he can express vocally. The lyrics to this song are particularly moving to me, as I can relate (though I don’t live in L.A.—yet!). I especially love the line “It seems like the daylight is coming / And no one is watching but me”. Absolutely killer.
Four White Stallions. Possibly my absolute favorite song on the album, and also one I’d never heard before. Though it’s a lot louder than the track before it, it gets all the right moments right, especially the spine chilling moment where he sings “There’s nothing left of me and her / Nothing more than a heart still at war.” Gets me every time.
Omaha. I’ve never really liked Omaha in any form of it. Your opinion may vary, but I’ve just never really been a fan of it. The version on this album is not too much different from the others you’d hear on their other albums.
Miami. Something about this song really gets me moving. I think it’s the pace of it and really nice guitar work. Very much worth a listen!
Hazy. A classic Duritz piano piece much akin to Raining in Baltimore. My guess is this is the break in the set for the band and Duritz had to throw in a quick, quiet piece to keep the audience mesmerized. And he does just that, very, very well.
Good Time. Hazy is followed by a very good, but different song. The thing that most stands out to me in this song, probably because I’m a guitar player, is the phenomenal guitarwork. While the guitarwork is reserved to certain moments, when there is a guitar moment it is powerful and performed very well. I imagine I’ll be trying to cobble together the right effects to achieve the guitar’s tone for quite a while.
St. Robinson in His Cadillac Dream. Much like Omaha, I’ve never really been a big fan of this song. Again, I’m not sure why, it just doesn’t appeal to me very much. Again, your opinion may vary.
Perfect Blue Buildings. A classic Counting Crows song—one I don’t mind if they play to death. There’s nothing really spectacular about this version over any other live version—they’re all worth checking out.
Hangin’ Around. Wow is a pretty good word to use here. This particular version of the song has some amazing, but different piano work. I imagine it’s not Duritz himself playing (not his style) but it certainly is interesting. In certain moments it’s actually just stylistic, rhythmic banging on the piano.
Goodnight Elizabeth. Another classic Counting Crows song, but executed very, very well. In this particular version, the song becomes an anthem, with several moments of the crowd singing “Goodnight Elizabeth” while Duritz looks on. As the song winds down, it gets a typical Duritz treatment—improvised lyric changes. Of all Counting Crows songs, this song is probably the one that receives that treatment the most. Considering how good he is at it, I don’t mind at all.
Hard Candy. Another song from their album of the same name. Again, not really a favorite of mine but the version on this album is still pretty good. Though very loud, it breaks well into the last song of the set (and my favorite).
Holiday in Spain. Another great piano song with great vocals. As I said before, Duritz excels at this type of song because of the amount of emotion he’s capable of expressing vocally. Apparently the crowd shares my opinion because halfway through it there is a brief pause in the music and the audience goes wild. Duritz has to wait and shush them so he can finish playing the song.
Conclusion
So there you have it, Counting Crows’ New Amsterdam: Live At Heineken Music Hall album. Overall I’d give it a 5/5 despite the few tracks I didn’t like—the others are just that good! Be sure to check out the album on Amazon.
Bye, folks.
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This comment was originally posted on Twitter
That’s how you know Counting Crows fans are a bunch of wankers – they actually tolerate Duritz shushing the crowd, one of the most embarrassing things I’ve ever heard on a recording.
He did it in a playful way because they started cheering before he finished the song. I don’t think anyone was offended.