Crows Prove That They’re The Real Thing

Chapter One of Counting Crows’ musical legacy was “August and Everything After,” a brilliant first effort from a band that Rolling Stone said was “revitalizing the sound and tradition of classic rock.”

That was 1994.

They may have taken their own sweet time to come out with Chapter Two, but it was worth the wait. “Recovering the Satellites,” due in stores this week, is evidence that the Crows’ extraordinary success was not a fluke. The album is at times shatteringly good, at other times excessive. It is always brave, and usually succeeds.

Most of the 14-song album is vintage Counting Crows, a blend of elements that is both uniquely their own and pulled from their influences: the emotional lyricism of Bruce Springsteen, the gutsy roots-rock of Tom Petty and the stream-of-conscious intellect of R.E.M.

Like “August,” which sold an amazing 7 million copies, “Recovering the Satellites” pushes the boundaries of modern folk-rock, with sojourns into new territory. There are some jazzy piano, blues, even some orchestral arrangements.

All of the efforts are interesting, although some fall a bit short. “Mercury,” for example, is scalding - a wonderful Stones-ish blues tune with piano and harmonica. “Miller’s Angels,” another piano-based melange, is too weighed down with self-stroking to lift off.

Although the band’s clear leader is singer/songwriter/diva Adam Duritz (who tickles the ivories this time around), on “Recovering the Satellites” every band member emerges.

Guitarist David Bryson anchors the band with his intense rhythm guitar, keyboardist Charlie Gillingham is a marvel on the Hammond, bassist Matt Malley is nimbly melodic, lead guitarist Dan Vickrey manages to play a mean riff without altering the reflective mood, new drummer Ben Mize blends in seamlessly.

Those who wonder where the boys have been in the last year and a half will get dollops of insight in the listening. Well, into Duritz’s life at least. (He being the man who writes all the lyrics; band members co-write the music with him.)

Since he has moved to L.A., there are images of Duritz’s Southland life throughout, from the marvelous title tune (“We only stay in orbit/for a moment of time/ And then you’re everybody’s satellite”) to “A Long December” (“It’s one more day up in the canyon/ And it’s one more night in Hollywood/ It’s been so long since I’ve seen the ocean/ I guess I should.”)

In fact, the often-somber Duritz manages to poke a little fun at himself in a couple songs, the best of which is “Have You Seen Me Lately?” - a rocking rumination on being out of the public eye. “I guess I thought someone would notice/ I guess I thought somebody would say something if I was missing/ Well can’t you see me?”

Duritz is a songwriter of power and intelligence whose self-revelations continue to be his strong suit. But unlike “August,” which exposed Duritz’s ongoing woman trouble in perfect poetry, some of this album’s best songs are not about his love life.

One example is the haunting “Children in Bloom,” written for his sister, Nicole. “Daylight Fading” (about ennui in Hollywood) is also superior, if a little Hootie-ish.

But Duritz still knows how to surgically examine relationships in a way that makes listeners cringe. Especially effective is the CD’s opening salvo, “Catapult,” a crescendoing marvel: “I wanna be the light that burns out your eyes/ ‘cause I know there’s little things about me/ that would sing in the silence of so much rejection/ in every connection I’ve made.”

On the other hand, listeners might tire of Duritz’s self-flagellation over his rocky love affairs. “Another Horsedreamer’s Blues” and “Goodnight Elizabeth” are less focused, more self-indulgent.

In the end, the Crows sound refreshed, finely tuned and ready for their comeback; even with all the poetry and finesse, the boys can rock. Listeners who identify the group with the plaintive “Round Here” will be stunned by the first single, “Angels of the Silences,” an infectious romp with a mean Stonesy beat.

Whether the band’s second album will sell 7 million remains to be seen. But that hardly seems important now. “Recovering the Satellites” should prove Counting Crows’ stature to any doubters.