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Somewhere Under Wonderland

September 2, 2014 | Format: MP3

$8.99
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Song Title
Time
Popularity  
30
1
8:21
30
2
3:31
30
3
4:55
30
4
3:12
30
5
4:47
30
6
3:56
30
7
3:46
30
8
4:43
30
9
4:12
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Product Details

  • Original Release Date: September 2, 2014
  • Release Date: September 2, 2014
  • Label: Counting Crows
  • Copyright: (C) 2014 Felipe Molina Under Exclusive License To Capitol Records, LLC
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 41:23
  • Genres:
  • ASIN: B00LB8HE4K
  • Average Customer Review: 4.4 out of 5 stars 193 customer reviews
  • Amazon Best Sellers Rank: #682 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Top Customer Reviews

Format: MP3 Music Verified Purchase
This is, easily, the best Counting Crows album since Recovering the Satellites. No question.

Here's the breakdown, along with my point rating (1-10 points, 10 being the best).

1) "Palisades Park" - At over 8 minutes long, this is the most ambitious song the band has done in quite a long time. It sort of recalls "Mrs. Potter's Lullaby", but with more dynamic range. With the sax, the song starts out sounding similar to "Chelsea" (the hidden track on the live album "Across a Wire"), but it soon careens all over the place, with slower parts, up-tempo parts, and lyrics that tell a fascinating story. Not my favorite on the album, but certainly way up there, and better than any single from a Counting Crows album since "A Long December". 8/10

2) "Earthquake Driver" - Bouncy, up-tempo song where Adam sings about fame and his decidedly mixed feelings about his musical ambitions. I have no idea what an "earthquake driver" is, but he uses it as a metaphor for stardom. In that sense, it's kind of a more folksy "Mr. Jones", in terms of theme. I struggle with whether to give this one an 8 or a 9, but I think the intentional abstraction in the lyrics merits more of an 8. (You'll see that a lot on this album. I'm not a big fan of the technique, but the songs themselves make up for it.) 8/10.

3) "Dislocation" - Another song about being famous and not really liking it. This song is a bit more straightforward about it than "Earthquake Driver". It's also a much harder-rocking song. I like that about it, and I think the band pulls it off. Still, I don't think the band is at its best when they're playing this hard and fast.
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Format: MP3 Music
As someone who's been listening to Counting Crows since the early 90's, I couldn't be happier with this album. Their first three albums form a sort of trilogy in my mind, and as much as I appreciated "Hard Candy" and "Saturday Nights and Sunday Mornings," they somehow felt like the band getting their feet beneath them, maybe searching for a new direction they couldn't quite find. Ahh... but here it is.

I don't know why more reviews aren't talking about "Earthquake Driver" which is, to me, the real winner of the album. It explores some of the same issues as "Insignificant" from their last album, but it's just so so so good. Duritz's lyrics have never been more poetic, but he also nails down a compelling rhyme scheme--which he's not focused on much before. Each of the instruments is working independently toward the overall structure, and they're distinct while moving together. It's just beautiful.
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Format: MP3 Music
Wistfully looking back at 1993, the year I graduated high school, there were so many memories (many of them a mixture of good and despicable), but one thing that always sweeps me right back to that place and time is the sounds of the Counting Crows and their masterfully orchestrated debut album, August and Everything After. “Mr. Jones” was an incredible smash hit, unleashing the Crows on a listening audience completely unprepared for such an original, authentic and honest sound. My personal favorite track from that album is “Omaha”, but the debate over the ranking of those tracks will wait for another time.

Twenty-one years and five albums later, the band is back to remind us not only of times gone by, but of emotions still meant to be felt in the here and now.

Somewhere Under Wonderland is a toe-tapping, juke joint of a rock and roll record. It’s more aggressive musically than their original fare, but with a strong country twang that runs through it. It’s like the whole band picked up and moved south and this is the audio travel logs. Their harmonies and melodies are familiar while still pushing their boundaries to show growth, but it’s Adam Duritz’s voice that is the heart, soul and utter pain at the center of the band. No one sings like him: past, present or future.

The album opens with “Palisades Park”, which lulls the listener underneath the big top of a traveling show by way of an incredibly long opening – the full song is 8:21 to be exact. It sets the mood for many of the tracks to come, like “Earthquake Driver”, “Elvis Went to Hollywood” and “Scarecrow”. That last track has a rhythm so infectious it is impossible to stop it from reaching your fingertips and toes.
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Format: Audio CD
Six years after their last album of original material, Counting Crows are back. Somewhere Under Wonderland is a solid comeback for the band, even if it feels slightly disconnected at the seams.

Palisades Park is an ambitious opener, complete with a jazzy intro and shifting dynamics. The band still has the ability to take an eight minute song and make it feel completely effortless. Frontman Adam Duritz can still weave an engrossing story as tracks like John Appleseed's Lament and the rock-flavored Dislocation clearly demonstrate. The aggressive tones of Dislocation and Elvis Went to Hollywood recall some of the band's earlier work on records like Recovering the Satellites, yet it's the folk-driven narratives of God of Ocean Tides, Scarecrow and Cover Up the Sun that really steal the show. Most of these tracks recall stories of traveling and life on the road, giving the record an undercurrent of dislocation and late nights spent between cities It's an interesting concept and Duritz pulls it off wonderfully, complete with the beautiful closer Possibility Days.

While the songs are mostly solid, I can't help feeling that they lack some cohesion. The record features a nice blend of styles but the country tracks are so good that I almost wish the band had just stripped down and gone for a full-blown folk album. The individual songs are quite good but there's also nothing quite as poignant as Amy Hit the Atmosphere or Rain King. Adam's voice and lyrics are as strong as ever but at only nine tracks the album feels a bit too brief; another two or three songs would have rounded it out nicely. These are minor points that are easy to overlook when the strength of the songs themselves is kept in focus.
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