Artist Spotlight: The Black Crowes

In the early 90's, amid Gangsta Rap, New Country and Guns N' Roses came a band with a sound so retro that it couldn't help but stand out. My first exposure to The Black Crowes was I think while watching the Arsenio Hall Show (Woof! Woof!) and they blew me away by playing no frills classic rock. But they were new! But they were classic! But they were new! Pumped up by the strut of their cover of the Otis Redding chestnut "Hard To Handle", I ran out and bought their disc.

They became a favorite of mine and I've followed their career since then. Chris Robinson's soulful vocals, Rich Robinson's chunky guitar and Steve Gorman's steady backbeat breathed new life into a dying music form. A rotation of other players have accented the band's sound throughout their career, most notably by guitarist Marc Ford. They've recently released a new CD, Warpaint, so I thought it would be a good time to assess the career of the Brothers Robinson. From their early glory to things that make you go hmmm..., The Black Crowes!

1990: Shake Your Money Maker

You are the Money Maker, they bring the money to you-sorry, that's Rilo Kiley. After some run ins with their label and Rick Rubin (who reportedly wanted to name the band into something that would have the initials KKK), the Crowes recorded their debut with their influences on their sleeve. British Invasion Blues Rock mixed with a touch of Southern Rock and a lot of vigor. Following their revival of Redding's "Hard To Handle", their first album read like a sampler of 60's gold. They had bits of The Stones ("Could I've Been So Blind"), Rod Stewart before he completely sold out ("She Talks To Angels"), Joe Cocker ("Seeing Things") and a little more Rod Stewart from the Faces era ("Jealous Again"). They were a lean, mean rock band with a chip on their shoulder and gained press with the Robinson brothers infighting. Labelled gimmicky by many at the time of this release, I enjoyed the traditionalist approach.

1992: The Southern Harmony and Musical Companion

My favorite of all the Crowes discs, this is the album where the rubber met the road. All of the aforementioned influences coalesce into a more individualistic sound. Adding gospel styled background singers and ace lead guitarist Marc Ford punched up their dynamic sound which was starting to become more rhythmic following their tour. Recorded quickly, this is the definitive Black Crowes album for me-the songs are well written and rock with real force.

"Remedy" was the lead single. With it's barnstorming guitar riff, chanting chorus and the first exposure to Ford's gnarled guitarwork, "Remedy" was a powerhouse. The opening track "Sting Me" is a tearaway rocker that the band specializes in. The thunderous "Sometimes Salvation" and the near Zep "No Speak No Slave" are highlights as well. They struck a balance where their songs had wonderful rough edges but still had enough song structure to make it all work.

1994: Amorica

Recently hailed by many critics as the Black Crowes best album, it's easy to see why. All of the influences distill into a distinct, unmistakeable sound that belongs to the Crowes. No one could point at a single song and spot the immediate influence as touring broadened the band's jamming ability. Though they had made an artistic breakthrough, this album started the group's slow commercial slide into obscurity.

Despite the great singing, sharp guitar work and empathetic groovin by the rhythm section anchored by Gorman, what it came down to is the sound began to overtake the songs. As a result, it's not memorable for any individual songs than as a whole. "Wiser Time" does make an impact as a whiskey soaked casual ride through mellowness while "P.25 London" thrills with it's rockin' attitude. But with less focus on actual song writing, The Black Crowes went from "it" band to yesterday's news in a flash.

1996: Three Snakes and One Charm

Following the commercially ignored Amorica, The Crowes simultaneously reigned in and expanded their sound. The songwriting was a little more focused and the perfomance a little less jammy. Yet in spite of some strong material, much of Three Snakes doesn't always stick. The first single "Blackberry" (not an ode to the phone) is the most memorable with it's chug-a-lug groove and catchy hook. But after that, I'm pressed to remember anything from this album. That's a shame, as The Black Crowes added Psychedelia to their repitiore giving Three Snakes a flavor that's different from any other part of their output.

1999: By Your Side

This was the first Black Crowes disc to really excite me in some time as it seemed they were getting lost in a cloud of Grateful Dead smoke. For By Your Side, The Crowes made a decision to refocus their songwriting and performance to a tighter sound as on their first album. The result: some blazing rock and roll. The downside? The album is self conscious and not all of the songs can past muster.

What can pass is a hoot and a holler, the "Sting Me"ish "Go Faster" was fun as was the hard charging first single "Kickin' My Heart Around". The ballads like "Only A Fool" and the title track also came across well. My personal favorite "Go Tell The Congregation" kicks ass while the closer "Virtue and Vice" builds up the drama wonderfully. As fun as By Your Side is, there's no getting around the feeling that the band was fighting their own instincts at the time making this one of their most uncomfortable albums. And playing it straight did nothing for them in terms of sales as they were playing to just a loyal following by now.

2001: Lions

Following a tour with Jimmy Page, the Crowes hit the studio with Producer Don Was. The news was exciting as Was had elicited strong performances from Bonnie Raitt and the Rolling Stones in the past. So it should have been the album of their career, right? Wrong, Lions was unrelentingly lazy and bored with itself from the get go. Maybe it was due to Chris Robinson's domestic contentment at that time, maybe they were tired from the road, but whatever happened sucked the life out of the band. Only "Lickin" and "Soul Singing" manages to get much action going. My least favorite from their entire catalog.

2008: Warpaint

The Black Crowes split up following Lions. It wasn't until about 2006 that the Crowes started to show signs of life until a full blown reunion took place. Warpaint is the first new album following their regrouping. The album re-establishes the band as a force to be reckoned with even as it doesn't rock all that hard. Warpaint takes it's nod from Amorica in it's structure of songs that exist more for the riffs and grooves than the melody. The addition of guitarist Luther Dickinson gives the band their best 2nd guitarist since the Marc Ford era.

Still, cuts like the ballad "Oh Josephine"and the backyard blues stomper "God's Got It" stand out. While this won't make them any new friends, Warpaint reflects a renewed sense of purpose and an added swamp rock flavor similar to Creedence Clearwater Revival or The Band. There is a lived in feel to the music this time which makes them sound more natural. It does lack a full tilt rocker, but other than that Warpaint is one of the best albums in this band's career.

Following the Crowes effectively calling out Maxim magazine for reviewing their record without hearing it (and rightfully so), I'm going to add that I own and have listened to all of the Black Crowes albums. Now to close, below is the new single from Warpaint called "Goodbye Daughters of the Revolution". It's good stuff, definitely not to hard to handle.

The Black Crowes - "Goodbye Daughters Of The Revolution (live)"