Adam Duritz Discusses His Anxiety in Upcoming Album: NPR

Over three decades ago, Adam Duritz and the Counting Crows debuted with “Mr. Jones,” a track reflecting the desire for fame in the music world. Unbeknownst to him, that fame would arrive quickly—and with its own set of challenges.

Their debut album, August and Everything After, would go on to sell over 7 million copies in the U.S. alone, elevating Duritz to the ranks of iconic rock storytellers.

Since then, he’s done his best to navigate that fame. His once-iconic dreadlocks, which made him easily recognizable, have long been cut. He has also taken a more cautious approach to releasing new music.

On May 9th, Counting Crows released their first full-length album in a decade: Butter Miracle: The Complete Sweets!

Morning Edition host Leila Fadel inquired about the significant gap between albums and the intriguing title, to which he responded: “It’s a secret.” (He opened up more after that.)

This interview has been condensed for brevity and clarity.

Interview highlights

On the gap between Counting Crows’ albums:

I was at a friend’s farm shortly before the pandemic hit. I hadn’t written anything in a while, and then I began to pen the song “The Tall Grass.” As I neared completion, I realized it was evolving into something different. What if I crafted a series of songs that flowed like one extended piece with various movements?

We recorded it just as the pandemic began. It was released during that time as the EP Butter Miracle, Suite One. Once the pandemic subsided, I returned to the farm to start writing the second half of the album.

While in London, I lent my voice to a friend’s album. They are in the band Gang of Youths. When I received the finished product, it impressed me! It made me realize that my new material was not yet at that high standard. I went back and revised much of it, something I had never attempted before.

If I don’t believe a piece is excellent, I typically abandon it. I had never gone back and rewritten something, feeling such uncertainty about it.

I held onto the songs for a couple of years without even sharing them with the band, feeling uncertain. Then I wrote “With Love, from A-Z,” which became the opening track. I loved it and knew it had to be on the album. I had to determine my direction.

On the main theme in the new songs:

Many individuals in today’s American society feel dismissed for being different. Whether it is due to race, gender, sexuality, or lifestyle choices, ostracization is prevalent. This experience can be particularly challenging for the youth, who have less resilience to confront these issues.

Leila Fadel: Is that what “Spaceman in Tulsa” addresses?

Adam Duritz: Absolutely, “Spaceman in Tulsa” captures those feelings. It reflects my experiences and those of my friends who faced significant challenges and traumas in their early lives. Yet they emerged as remarkable individuals. The shared link among them was art—finding ways to celebrate who they are instead of concealing it.

Yet, there is also much trauma to unpack. This is a common thread for many in the arts. Having felt different as children adds a depth to the song. It’s both a serious examination of the difficulties and sorrow connected with that, and a celebration of finding one’s place in the world.

It shares similarities with “Mr. Jones” in that aspect, which was about the fantasy of rock stardom mixed with the realization that it might not fulfill all your desires. Yet, it remains a powerful dream.

Fadel: When you wrote “Mr. Jones,” you hadn’t yet achieved fame. It really put you on the map, and it’s about aspiring for that very life. Did you envision this being your reality? Is it as you expected?

Duritz: I certainly envisioned being a rock star. At that time, no one from a record label had ever watched the bands I played with. The song came from a complete fantasy—an ideal of how wonderful it could be.

But even in that dreaming, I knew it wouldn’t solve all of life’s problems. No quick fixes exist. You still need to confront your challenges.

While I dreamed of rock stardom to pursue music and building a life around it, I understood that rarely does it unfold that way. Even with a once-in-a-lifetime opportunity, it often fades quickly. We don’t aspire to be one-hit wonders. So to be here over 30 years later is nearly unbelievable. It’s truly amazing.

Fadel: Regarding “Angel of 14th Street,” there’s a poignant line: “The angel of the pavement cries/ If God is dead, why am I here? Did he leave a light on for me?” It’s repeated for emphasis.

Duritz: I sensed a troubling apathy in society toward women—a prevailing attitude where some believe they know what’s best for all. This phenomenon has always existed, yet many believed we were progressing positively.

Of course, the MeToo movement revealed numerous perpetrators of abuse against women for the first time, making us aware of the depth of the problem. Half of humanity has been mistreated and undervalued while the other half has wielded power over them. It cheapens the worth of a significant portion of the population.

I tried to envision what it feels like for a woman when they are spoken to by those in power as if they are insignificant.

Fadel: While listening to this album and studying the lyrics, it feels like you are articulating the deep anxieties so many face in these uncertain times. Did you realize you were doing that?

Duritz: I suspected I was translating my own feelings.

Throughout life, we often carry emotions deeply. I recall feeling that way as a child, wrestling with intense feelings and wondering where I could express them. Others had given their talents a place, but I seemed to have pent-up emotions seeking an outlet.

When I wrote my first song, it was like a eureka moment. I suddenly understood my purpose. All those feelings found a home where they could become something significant and impactful. Writing songs became my life’s calling.

Writing that first song offered me insight into who I was—far before many of my peers realized it. While I fell behind when others found jobs, pursuing a career as a songwriter proved nearly impossible! Yet, I persisted. Eventually, realizing that all those emotions had meaning and a voice was a transformative revelation.

The audio version of this piece was edited by Olivia Hampton; the digital version was edited by Majd Al-Waheidi.