This amber - to - coppery-brown ale features "organically grown hops & barley," and is brewed at St. Peter's brewery in Suffolk, U.K..
A mild, nutty sweetness is finished with a heady dry hoppiness, the bitterness of which was the perfect accompaniment to a piece of ginger bread. Really - I recommend this coupling.
Next, I switched to a thin slice of aged cheddar, and this brought the bitter hops to the fore, but overall the ale still retained a balance of smoothness.
Bottom Line: a symmetrical ale, balancing sweet with bitter and finishing dry and crisp. Very much an "even-handed" ale -- not too heavy, but you'll know you've had a pint. Should be just dandy with an English Roast, or a bacon cheeseburger.
$4.99 for 1 pint, 0.9 Fluid Ounces at my local purveyor of fine spirits.
The Faces. The Rolling Stones. Jimi Hendrix. Led Zeppelin. The Band. Dr. John.
The Black Crowes have always worn their influences on their chests, and have proven time and again that not only are they fans but, in a musical sense, they understand their heroes. Chris Robinson and Co. are neither a novelty act nor a museum piece. They have produced consistently vital rock and soul music, and their latest effort, "Warpaint" may be the best so far.
On one hand, I sometimes feel guilty comparing musical artists to other musical artists. I mean, the Black Crowes stand on their own without having to make unfair comparisons to the Rolling Stones, right? On the other hand, they DO often sound like the Stones, and what's wrong with that? Would the Crowes really mind if anyone said so?
Besides, I think such comparisons are inevitable and unavoidable. What other way should we talk about music than to show its connectivity to tradition? And certain musical forms are more rooted in generational traditions than others -- like Jazz and Blues, for instances. One really shouldn't discuss the Rolling Stones without mentioning Howlin' Wolf or Muddy Waters. Laying out such landmarks for reference points gives credit to the source and also lends credence to the artist for proving worthy of being mentioned in the same breath. Ultimately, it allows for a broader commonality of rich musical language that we can all converse in, once sufficiently enlightened.
So, with that out of the way, let's go through this album for my second listen, and put down some random thoughts concerning musical guideposts.
Goodbye Daughters of the Revolution
This playful sense of rhythm - simultaneously loose and tight, sloppy but disciplined - is a 100% nod to The Faces. But the Crowes have now made this sound their own - it is now the "classic" Black Crowes sound. Wonderful slide guitar work.
Walk Believer Walk
Starts with a riff I can only describe as AC/DC, but soon turns into AC/DC heavy gospel dirge. More tasty slide work. I love the bass during the refrain. A little solo vocal chanting, a la Black Dog.
Oh Josephine
Almost everything about this cut sounds like Rolling Stones circa 1973: the opening acoustic sound, the soft wah filter on the lead guitar, the Keith Richards harmonies, the Nicky Hopkins-like piano, and Chris Robinson's lead vocal. If he wanted to embark upon a career as the Mick Jagger Experience, this would be a good demo. Really a beautiful song. Wonderful instrumental ending with a lovely little modal vamp line.
Evergreen
Heavy introduction - sublime dissonant intervals on guitar riff -- strong musty whiffs of Manic Depression -- more perfect organ work - C. Robinson in fine full sonority. Guitar solo = more shades of Hendrix. Who is this drummer? Note: must learn more about the drummer - he is extraordinary.
Wee Who See the Deep
Drum intro: Cripple Creek? Guitar riff: a graft of 25 or 6 to 4 with the turnaround lick from Hey Joe. Glorious and unexpected harmonies on the Chorus. I love the guitar solo, and now want to touch the hem of the drummer's garment. Outro features a breakdown to piano, vocal and slide guitar. Nice.
Locust Street
Mandolin intro - piano entry at chorus is absolutely spot-on gorgeous. I'm wishing they could have gotten hooked up with Emmylou Harris for this one. Beautiful chorus melody like a long lost child of Graham Parsons. This one is pure Americana.
Movin On Down the Line
It's all right sisters, It's all right brothers. Is that a mellotron? (Led Zep - No Quarter) Intro vocal chant build up and build up until it sounds like an outro instead, then the rock kicks in. Turns into some kinda New Orleans / Dr. John funk for a few lines. Main lick sounds like a little piece of Beatles' I Feel Fine riff. Instrumental breakdown section in funky 7/8 time with sweet harmonica soloing. Rhythm section is making me ruin my underpants.
Wounded Bird
Chordal intro -- The Seeker? After the first verse, song enters a beautiful and totally unexpected melody for the chorus -- it's grabbing me hard. Is this my favorite of the album? Could be.
God's Got It
Swamp stomp. Heavy. Think: Buddy Guy's "Sweet Tea" album.
There's Gold in Them Hills
Lyrically, a variation on Bob Dylan's Isis? Musically -- stunning. Just Brilliant. Chris Robinson's full talents as a singer are on display here -- excellent phrasing -- inspired melodies. Also, the Crowe's combined talents as an ENSEMBLE unit shine and shine and shine here. The honky-tonk section of this track is worth the price of the entire album. Random associative thought: the movie, "McCabe and Mrs. Miller."
Whoa Mule
Lyrically and musically, a perfect follow up to the previous track. The B.C.'s show off some folk roots, with this Irish / English-style jig transplanted to American soil. Wistful and innocent, it proves to be an effective way to cap this rootsy and soulful album.
So what else can I say? If you have even the tiniest inkling that you might enjoy this album, then by all means go buy it today. . . Now! I didn't think they made 'em like this anymore, so get it while it's hot.
