The Black Crowes

TURBULENT though the Black Crowes' career has been, no other band of the '90s can approach them when it comes to delivering fiery, blues-based rock and roll in the tradition of the Allman Brothers, Lynyrd Skynyrd, and the early Stones. Though the group has often been accused of aesthetic thievery (a criticism also leveled at Led Zeppelin at its peak, it should be noted), those who malign the band ignore one essential fact: from the Beatles to Bowie to R.E.M., rock has always been about borrowing and lending, about assimilating influences and then stamping the results with one's own indelible imprint. In that sense, the Black Crowes' music evidences a reverence for tradition that's not only honorable, but that's worthy of admiration.

The band's beginnings can be traced to December of 1983, when, at age fifteen, Rich Robinson was presented with a guitar for Christmas and immediately set about writing songs with his brother, Chris (who had just turned a ripe-old eighteen). The beneficiaries of a musical household — Stan Robinson, the boys' father, was a minor pop singer who appeared on American Bandstand in the late '50s — Chris and Rich were, by this time, already steeped in eclectic material ranging from Phil Ochs to Sly Stone to traditional Irish folk music. Calling themselves Mr. Crowe's Garden, the two played their first show just six months later at a bar in Chattanooga, two hours away from their hometown of Atlanta.

In contrast to the southern-fried musical concoction for which they eventually became known, the Robinson brothers first tried to emulate their folk-pop heroes, which included Bob Dylan, the Byrds, and Big Star. One artist who especially influenced Rich was Nick Drake, an acoustic songwriter who utilized open guitar tunings to create unusual chord patterns. While playing a show in New York in 1988, the duo caught the ear of George Drakoulias, an A&R representative for A&M Records who would soon migrate to Rick Rubin's newly-formed Def American label. While he wasn't much taken with the Robinsons' overall sound, Drakoulias detected something promising in the brothers' raucous side and in their choice of cover songs. After the show, he approached the pair and offered his assessment of their strengths and weaknesses.

A little over a year later, under Drakoulias' tutelage, the Robinsons had a new band name, two new band members, and, most importantly, a new sound. Casting off their neo-folkie stance in favor of unadulterated raunch 'n' roll, the newly-christened Black Crowes metamorphosed into a powerhouse unit fleshed out by Jeff Cease on second guitar, Johnny Colt on bass, and Steve Gorman on drums. With a label contract in hand (Drakoulias got them signed to Def American for the initial sum of $5000), the Black Crowes set about recording what they hoped would be their own Exile On Main Street. While not up to that classic's high standards, the results nonetheless marked the emergence of a remarkably mature band (musically speaking) whose determination and spirit were undeniable.

After its release in 1990, Shake Your Money Maker began slowly ascending the charts. "Jealous Again," the first single, sold only moderately, but on the strength of the subsequent Top 40 hits, "Hard To Handle" (an Otis Redding cover) and "She Talks To Angels," the album eventually reached multi-platinum status. Though a fair number of critics bemoaned the Crowes' retro stylings — some slammed the band as a second rate Faces, and Chris didn't help matters with his fondness for tie-dyed T-shirts and bell bottoms — the press generally hailed the group as a refreshing antidote to then-current chart toppers like Mariah Carey and Wilson Phillips. Fittingly, when Rolling Stone published its annual critics' and readers' polls for 1991, the Black Crowes found themselves sitting atop both lists in the category for Best New American Band.

For better or worse, controversy hounded the Crowes nearly from the outset of their professional career. Upon gaining a prestigious slot as opening act for ZZ Top in 1991, the band began systematically sabotaging its good fortune by regularly deploring corporate music sponsorship (this despite the fact that Miller Lite was helping to finance the tour). Ignoring stern warnings from ZZ Top's management to refrain from such blasphemy, Chris persisted in regaling audiences with his anti-commercialization rap, and after just three months the band was kicked off the tour. (For the record, Miller denied having a hand in the decision to fire the group). Further establishing the group's rebellious reputation was its fierce advocacy of the legalization of marijuana, a position it solidified by often performing at events staged by the pro-marijuana organization, NORML.

A worthy follow-up to the band's debut, The Southern Harmony and Musical Companion was released in the spring of 1992 to considerable acclaim. Named after a pre-Civil War hymnal, the album entered the Billboard charts at No. 1, and subsequently went on to spawn the hit singles "Remedy" and "Thorn In My Pride." Though the album was marked by two changes in personnel (Eddie Harsch was added as keyboardist, and ex-Burning Tree guitarist Marc Ford replaced Cease on guitar), from a stylistic standpoint the Crowes remained on firm footing. Unfortunately, the same couldn't be said of the group's next two outings.

Recorded during a time of great stress for the band (in an interview with Goldmine magazine, Rich said the period was characterized by lots of in-fighting and little communication) 1994's lackluster Amorica was distinguished less by its music than by its revealing cover art. Though the album managed to reach No. 11 on the Billboard charts, it yielded no hit singles and was roundly panned by critics. Three Snakes And One Charm, which followed in 1996, represented something of a return to form, but clearly, from both a creative and a personal standpoint, internal strife was taking a toll. The Crowes remained active on the concert circuit, most notably as featured performers on the Grateful Dead-inspired Further Festivals, but radical changes seemed to be in the offing.

In late 1997 those changes came with a vengeance. In August, guitarist Marc Ford was asked to leave the band, and two months later bass player Johnny Colt departed as well. Soldiering on, the remaining Crowes recruited Sven Pipien (formerly of the Atlanta band, Mary My Hope) as Colt's replacement, while Rich assumed all guitar duties. (For live shows, second guitarist Audley Freed was enlisted to help flesh out the sound.) Following a series of tantalizing concerts staged to support their box set, Sho' Nuff, the group headed for New York in the summer of 1998 to record new material with Aerosmith producer Kevin Shirley. Released on January 12, the resulting album, By Your Side, offers a rekindling of the confidence and spirit of the band's debut. Thus far, the album has met with glowing reviews.

— Russell Hall