By: David Schultz
Photos via Flickr.

In response to the critical bent towards describing a band as over or underrated, Chuck Klosterman once created a top ten list of bands that were rated correctly, deeming The Black Crowes one of the most accurately rated bands of all time. Notwithstanding his subtle (and humorous) disdain towards the subjective analysis inherent in the proper “rating” of any act, Klosterman’s assessment of the Crowes is a fair one: their successes have never been blown out of proportion and their missteps are rarely glorified. Shake Your Money Maker, their 1990 debut, crackled with life and wedged open the door that grunge rock ripped off the hinges a year later. They even "stole" Otis Redding's “Hard To Handle” in much the same way Aretha stole “Respect.” Even though they weren't able to sustain their early 90s momentum past their third album, Amorica, the Crowes persevered through numerous personnel changes and a fading relevance, hastened by their 2001-2005 hiatus, and maintained their status among the best on the live circuit. With a new album in the can and a summer tour in full swing, Chris and Rich Robinson brought The Black Crowes’ sweaty brand of earthy blues to the humidity drenched environs of Central Park for an early evening show as part of Summerstage's increasingly hip and diverse lineup.



A throwback to the smoky, hazy days of Seventies-era arena rock, Black Crowes shows have become nothing less than rock and roll revivals complete with Chris Robinson urgently preaching his songs with an impassioned sincerity to an audience of believers that long ago downed the Crowes’ Kool-Aid. As for myself, I always find it fun when the Crowes come to town: I tend to give every long haired, hippie-bearded street walker a second glance on the offhand chance that Chris Robinson might be wandering the streets in a befuddled daze.

The carousel of revolving guitarists, bassists and drummers has resulted in the Robinson brothers pretty much equaling the Crowes, with the current incarnation of the band including guitarist Paul Stacey, bassist Sven Pipien, keyboardist Alan MacDougall and original drummer Steve Gorman. The lineup may change periodically and the set lists change nightly but the fervent zeal and spiritual performances stay constant. Chris Robinson remains a consummate frontman, strutting and preening between the drums and mike stand like a coordinated version of Joe Cocker or more appropriately a groovier Mick Jagger. Dramatically lower key than his charismatic brother, Rich Robinson fulfills many roles and remains the heart that pumps the band’s lifeblood. Over the course of the night, Rich came forward to lend some vocals to “Jealous Again,” stepped up for some blues-based guitar solos and also faded into the background, playing rhythm guitar while Stacey handled lead.



Although their upcoming album, their first in more than six years, is in the mixing and mastering stage, the Crowes’ drew heavily from their marvelous 1992 sophomore effort, The Southern Harmony and Musical Companion, with “Bad Luck Blue Eyes Goodbye” and “Black Moon Creeping” being the only original songs omitted from their Summerstage set. With a spectacular rendition of “Soul Singing” constituting the only post-1994 offering, the Crowes spent the evening diving deliciously into the past. Their devoted fan base, well versed in all things Crowes, didn't seem to be expecting anything different and I suspect they would be disappointed if the Robinsons didn't give them a substantial dose of nostalgia.



The Crowes usually make their New York appearances memorable ones. In March of 2005, the resurrected band confirmed their return by taking residency at the Hammerstein Ballroom for an unforgettable week of comeback performances. In addition to having everyone dress up in white for a Good Friday celebration, they reinvigorated their entire catalog and after hearing many of their latter-day songs live, Lions and Three Snakes And A Charm make more sense. (By Your Side still remains inexplicable). For their return, they paired up with the North Mississippi Allstars and Trey Anastasio to kick off 2006 at Madison Square Garden loading their second set with Zeppelin covers and a lengthy version of “Hard To Handle” with Anastasio lending a helping hand (er, guitar).

Other than making their first appearance in Central Park, there was nothing historic about the Rumsey Playfield gig. Luther Dickinson made a special, if not exactly unexpected, midshow appearance. A friend of the Crowes who has played often with Rich Robinson in Circle Sound and who in Chris Robinson’s words is “all over the new album,” Dickinson joined in on “Downtown Money Waster” and an extended “Thorn In My Pride” which saw Gorman blow the amps in the middle of his drum solo.




The Crowes are at their best when they focus on seeking deliverance from the existential despair brought on by life and women, not entirely in that order. In a set abbreviated by the nefarious Parks Department curfew, the Crowes worked a Zeppelinized blues version of “Good Morning Little Schoolgirl” into “My Morning Song” and during “Sometimes Salvation,” Paul Stacey ripped off a guitar solo that drew impressed grins from Pipien and Chris Robinson. The Crowes have a number of immediately recognizable guitar riffs and the opening three notes of “Remedy” remain their surest way to pop the crowd; the lackluster presence of the two back-up singers justified by their mighty contribution to the tune.

The Crowes return to New York for a pair of late October shows at The United Palace. With Ryan Adams & The Cardinals playing the Hammerstein Ballroom and Dweezil Zappa bringing his Zappa Plays Zappa revue to the Beacon Theater in continuation of his father’s Halloween tradition, October 31st will have a frightening amount of fine concert options.

Labels: The Black Crowes