Counting Crows – August And Everything After (1993/2013)
Жанр: Pop/Rock, Alternative/Indie Rock
Носитель: SACD
Год издания: 1993/2013
Издатель: Analogue Productions
Номер по каталогу: CAPP 24528 SA
Аудиокодек: DSD64 2.0
Тип рипа: image (iso)
Продолжительность: 00:51:47
Наличие сканов в содержимом раздачи: да
Образ снят с помощью: Sony PlayStation 3 и утилиты sacd-ripper version 0.21
Релизёр:
Треклист:
01.Round Here
05:30
02.Omaha
03:40
03.Mr. Jones
04:34
04.Perfect Blue Buildings
05:01
05.Anna Begins
04:32
06.Time And Time Again
05:14
07.Rain King
04:16
08.Sullivan Street
04:30
09.Ghost Train
04:06
10.Raining In Baltimore
04:41
11.A Murder Of One
05:43
August and Everything After
August and Everything After is the debut studio album by American rock band Counting Crows, released September 14, 1993 on Geffen Records.
The album cover depicts handwritten lyrics to a song called “August and Everything After”, but the band decided against featuring the song on the album of the same name; it was not until over a decade later that it was played as part of one of their live concerts.
On September 18, 2007, a two-disc deluxe edition of the album was issued. The first disc contains the original album, remastered by Adam Ayan and Stephen Marcussen, with six songs (including three demos) added as bonus tracks. The second disc is taken from the band’s penultimate performance during the August tour, recorded at the Elysée Montmartre in Paris, France on December 9, 1994.
The album August & Everything After – Live at Town Hall was released on August 29, 2011, featuring live recordings of the songs from this album.
All Music Review
When the prevailing guitar jingle of “Mr. Jones” cascaded over radio in the early ’90s, it was a sure sign that the Counting Crows were a musical force to be reckoned with. Their debut album, August and Everything After, burst at the seams with both dominant pop harmonies and rich, hearty ballads, all thanks to lead singer Adam Duritz. The lone guitar work of “Mr. Jones” coupled with the sweet, in-front pull of Duritz’s voice kicked off the album in full force. The starkly beautiful and lonely sounding “Round Here” captured the band’s honest yet subtle talent for singing ballads, while “Omaha” is lyrically reminiscent of a Springsteen tune. The fusion of hauntingly smooth vocals with such instruments as the Hammond B-3 organ and the accordion pumped new life into the music scene, and their brisk sound catapulted them into stardom. On “Rain King,” the piano takes over as its aloof flair dances behind Duritz with elegant crispness. The slower-paced “Raining in Baltimore” paints a perfectly gray picture and illustrates the band’s ease at conveying mood by eliminating the tempo. Most of the songs here engage in overly contagious hooks that won’t go away, making for a solid bunch of tunes. Containing the perfect portions of instrumental and vocal conglomeration, the Counting Crows showed off their appealing sound to its full extent with their very first album.
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