What can I say? If you’ve ever bought a Counting Crows album and enjoyed listening to its mellow blend of rock and folk, then you’ll undoubtedly love this one, too.

When its first radio hit, “Mr. Jones,” constantly badgered airwaves across the nation in 1993, the band was bound to catch on quickly.

Nine years later, the seven-member band has released its fifth album, “Hard Candy,” a sweet collection of 14 tasty tracks (one hidden) proving that singer Adam Duritz still longs to be Bob Dylan.

Produced by Steve Lillywhite (U2, Dave Matthews Band), the Crows have done what few bands can do - stick with what they’ve always done and not follow the current trend of sellouts. The constant utilization of a piano throughout the album adds to the charm and dedication of the music by using as much vibrant sound as possible in the extensive mixture of ingredients.

The current radio single and sure-fire summer hit, “American Girls,” has backing vocals by Sheryl Crow that sway effortlessly with Duritz in the chorus.

Also sure to catch your attention is the new-wavish beginning of “New Frontier.” It doesn’t sound like traditional Crows at first, which is why it stands out, but with Duritz’s instantly recognizable voice, it fits right in.

The beautiful piano-laden track “Up All Night (Frankie Miller Goes to Hollywood)” is the most memorable song in which Duritz really shines. It starts off softly, but builds up as it progresses and Duritz elegantly sings, “I’ve been up all night/I might sleep all day/Get your dreams just right/Then let ’em slip away/It’s too late to get high now.”

The mellow delivery of “Black and Blue,” floats into the atmosphere with the lyrics, “You look a lot like you’d shatter/In the blink of an eye/But you keep sailing right on through/Every time you say you’re learning/You just look a lot like me.”

The wonderful “If I Could Give All My Love - Or - Richard Manuel Is Dead” is a melancholic song disguised with upbeat music, containing the memorable words, “If I could give all my love to you/I could justify myself/But I’m just not coming through/You’re a pill to ease the pain/Of all the stupid things I do.”

There are so many different instruments used (Hammond B-3 Organ, tack piano, Mellotron, Chamberlain obo, Wurlitzer, etc.), it’s hard to catch them all at first, but with repeated listens you become aware how much is really going on in some songs.

Also worthy of mention is the horn-laden “Carriage,” the string-arrangement of “Butterfly in Reverse,” the subtle banjo plucking in “Good Time” and the longing lyrics of “Holiday in Spain.”

And for people who listen to albums all the way through, a hidden track covering Joni Mitchell’s “Big Yellow Taxi” is an enjoyable surprise and a well-done version of the classic.

The Crows just keep on doing what they do best, creating an enjoyable album that never leaves behind a bad taste.