Review Summary: A comeback album that contains strong moments, but ultimately fails to deliver on its promise.
Time is a hell of a thing. Throughout history, very few musical acts have possessed the wherewithal, chops, or ability to weather all of the mitigating factors that encompass its fickle and often brutal tests. The maturation process for many rock acts is never undertaken, as musical genre changes, outside personal factors, creative differences, drugs, management, and record companies themselves often prove to be monolithic obstacles for artists.
For the Black Crowes, with all of the previously mentioned encompassing factors present, time has proven to be a bitch. Although it is difficult to imagine now, at one point the Crowes looked like the second coming of the Rolling Stones; bursting on to the rock scene with genre defying bombast, serving up loads of almost unmatched soul infused rock adrenaline on their first two records. In the process of selling millions of albums while simultaneously maintaining critical credibility, the Black Crowes were seemingly destined for glory. While their legacy was close to being cemented, a funny thing happened on the way to the Hall of Fame. Suffering the fate of many rock brethren before them, the pitfalls of immediate success reared its proverbial ugly head. A string of mediocre albums, combined with personal issues and drama of almost epic proportions, sent the brothers Robinson hurtling off a cliff into a hiatus that lasted seven years, seemingly ending the promise of any hope of perseverance.
Another interesting aspect of time, and human nature, is its love for a comeback, its undeniable thirst for forgiveness and redemption. Perhaps sensing this, or catering to the thirst of a fervent, although now primarily cult fan base, the Crowes announced with little media fanfare that they would reconcile and release a new album in 2008. Calling the upcoming album a “dress rehearsal for the rest of our lives,” Chris Robinson seemed ready to take back the reigns of rock legendry he so willingly surrendered ten years prior. After enduring adversity, another line-up change, and a seemingly career ending hiatus, would the Black Crowes emerge with vigor and redemption or fall flat yet again?
The answer is a mixed bag. Entitled “Warpaint,” fitting considering the circumstances of the band’s history, the comeback record finds them more musically seasoned and lyrically proficient than they had been in over a decade. Sonically, the music permeating throughout the album is a return to roots in a sense; it is rooted in and pays tribute to the blues, forgoing much of the misfiring funk, R & B, and gospel seen throughout previous records. Lyrically, Robinson is on his game, delivering the best stories and trouble laced tales of caution since “Amorica.” Instrumentally, there is little weakness, as was usually the case on previous albums.
There are many positives to the record, and the notables are praiseworthy. Opener “Goodbye Daughters of the Revolution” sounds like the song they have been trying to write for decades. A goodtime romp that is bathed in southern musical influence, the lead single rides a mammoth hook and melodic chorus that gives the feeling the Crowes have been pretty damn restless, and are wasting no time unleashing the bluesy hard rock power that vaulted them to prominence in the first place. The other bookend, album closer “Whoa Mule,” is a mandolin driven spacey blues epic of sorts, and lyrically sums up the idea of overcoming true adversity and embracing the graces of redemption. One of their better efforts, “Whoa Mule” could have fit right at home on the Coen Brothers’ “O Brother Where Art Thou,” delivering a wallop of soul infused blues done right. The jangly and laid back “Locust Street” plays as the soundtrack to a goodtime Southern BBQ picnic. Gently riding a soothing, almost wind chime influenced hook, “Locust Street” makes the listener feel as if they’re walking down Main Street in a backwoods town during Harper Lee’s “To Kill a Mockingbird” era South. The final standout, “Oh Josephine,” is a colossal ballad that cuts to the bone. The gentle yet epic ballad finds Robinson cutting a foreboding tale of self lamenting loss; “for awhile I was strung out beyond my means, just looking for a song to set me free;” and the strong acoustic backbone does not let the well placed story down. Utilizing their combined experiences and well placed instrumentation, the positives of “Warpaint” are strikingly good, delivering some of the best songs the band has cut in years.
Unfortunately, despite a renewed and overall seasoned delivery, the same glaring lack of consistent, focused songwriting that plagued records like “Lions” and “Three Snakes and One Charm” rears its head in several spots. Although the lack of inspiration that was plastered all over “Lions” is not accounted for, several of “Warpaint’s” tracks will invoke an uncontrollable urge to hover over the skip button. The trio of “Wounded Bird,” “Evergreen,” and “Wee Who See the Deep” all contain strong verses and tight musicianship, but are belied by terrible choruses. “Walk Believer Walk” has little redeeming qualities, while “Movin Down the Line,” “God’s Got It,” and “There’s Gold in Them Hills,” could possess some kind of blues revival charm, but ultimately fail to deliver as a whole. While the band has certainly presented worse, and this very well could be the “best of their bad,” the failure to close out songs, especially combined with the overwhelming fact they had seven years to hone and improve on this glaring inefficiency, cascades an overall feeling of disappointment.
On the whole, “Warpaint” is a bipolar record that will both reward and irritate the listener. Although it is arguably the best album they released in a 14 year period and contains a trio of overwhelmingly strong tracks, the final product is higher on filler than standouts. In short, “Warpaint” contains exceptionally strong moments, but an overall lack of consistency has plagued the Black Crowes again. The search for redemption was well intended, but the final verdict of the record is they would have a great deal of work to overcome in order to achieve their once vaunted status. The Crowes may have weathered a few of time’s obstacles, but it remains to be seen whether they can fully stand its true test.
Standout Tracks:
Goodbye Daughters of the Revolution
Whoa Mule
Oh Josephine
Locust Street
