[Rob In Stereo] Paint it Black, Crowes

The Black Crowes

by Rob Hamilton
April 23, 2008

What are the qualifications for a perfect greatest-hits record? If someone who owns an artist’s entire catalogue can sell them all, buy the greatest hits with some of their earnings, and not feel screwed over by the omitted songs, nor find any unnecessary tracks to fill the requisite running time, that record fits the bill. As a result, the Black Crowes’ 2000 release, “A Tribute to a Work in Progress,” ranks right up there with LL Cool J’s “All World” as a greatest-hits record that render an artist’s entire album catalog obsolete.

That’s not to say the Crowes haven’t come close to having a great album. Their 1992 album, “The Southern Harmony and Musical Companion,” was close. It struck a near perfect balance between their two biggest influences—The Rolling Stones and The Faces—without being too derivative of either. However, the greatest hits album represents the balance well.

When the Black Crowes are at their best, they are able to mesh blues, rock, country and R&B better than almost any band on the planet, short of the Stones. Furthermore, Chris Robinson (aka ex-Mr. Kate Hudson), has a voice to perfectly suit the combination.

“Warpaint,” their newest record and first studio album since 2001’s dismal “Lions,” is their best album since “Southern Harmony and Musical Companion.” It is the first album-centric Black Crowes record in a long time, because it doesn’t consist of one or two quality singles and 10 b-sides.

The album takes a page from the Stones’ “Exile on Main Street,” and kick-starts itself with opening track, “Goodbye Daughters of the Revolution.” Reminiscent of “Rocks Off,” Exile’s opening song, it sets the tone for the rest of the album. It is guitar-driven with a multi-layered, catchy chorus and a Jagger-esque swagger.

Unlike previous albums, the up-tempo songs are not the only high points. The Crowes haven’t had a great slow song since “Good Friday” on 1996’s “Three Snakes and One Charm.” “Oh Josephine” tries to shake this slump, and while it doesn’t quite measure up to “Good Friday,” it does capture Robinson at his most soulful, and his brother, guitarist Rich Robinson, at his wailing, pleading best.

Interestingly, many of the other highlights of the album are departures from the traditional Black Crowes sound. “Locust Street” is uncharacteristically minimalist. “God’s Got It,” the album’s lone cover, is old-fashioned, stripped-to-the-bones, foot-stomping blues. The album’s closer, “Whoa Mule,” is a Band-meets-Stones, folky jam that surely will appeal to the Crowes’ established jam-band fanbase.

The biggest flaws on the record come when the band is focused more on recreating The Rolling Stones instead of incorporating the style into their own unique sound, such as on “Goodbye Daughters of the Revolution.” A great example of this is “Movin’ on Down the Line,” a near copy of “Let it Loose,” the climax of “Exile on Main Street.” The song sounds like a recording that fan-boys may have sent the Stones trying to get an opening spot on the Exile tour.

“Warpaint” seems to be an artistic fork in the road for the Black Crowes. Now that they have established their return, they can either go back to hiding an album of fluff behind a couple of quality songs, or they can try to one-up themselves and reach for their potential to put out a great album. After hearing the multiple styles and instrumentations on “Warpaint,” I’m convinced they have it in them.

 
posted by on 04/23/08 at 07:54 PM. [printer-friendly version]