Unboxing: ‘Happiness Bastards,’ The Black Crowes 6/19/24
This will serve as an “unboxing” blog. For Father's Day, my wife gave me the latest album by the Black Crowes.
As I will provide uninterrupted immediate impressions of the music, I will lead off by giving my take on the album jacket and notes. This is an important part of the vinyl experience, so it is only fair that it gets reviewed before I drop the needle.
I had read something to the effect that the album’s art was designed by singer Chris Robinson’s wife and that it is painted over copies of Shake Your Money Maker and the Southern Harmony and Musical Companion. It’s an interesting notion - that the band would create a new impression - one that hopefully builds off the band’s seminal early work.
The bold lettering did not impress me at first sight, but the inner jacket provoked thought. The left side reads “Trust Us,” while the right reads “Never Trust Us.” My trust will be earned, and at this point, it remains to be seen.
Ah… it’s somewhat of a joke and a relief of sorts. The gatefold sleeve only holds one album, and the Never Trust Us side has nothing. Funny. I will call it a relief because I have found many new releases from legacy rock acts overstay their welcome at times, making listening a bit of a chore. I’ll give kudos to the Black Crowes for sticking to one disc. I Wish Journey’s Freedom album had gone that route.
The inner album liner is scratched lettering with the track listing and musicians. We have a guest appearance by Lainey Wilson to look forward to! The other side of the liner is lyrics, but quite possibly the most annoying lyric sheet I could imagine. The lyrics rotate from song to song, corner to corner, from the outer edge to the center of the sleeve. They are handwritten and surround a skull artwork that also appears inside the album jacket (also looking cool on the record itself).
If I really need the lyrics, I guess I can Google them, right?
Now… down to the Happiness Bastards listening session.
We start with album opener “Bedside Manners,” and upon first listen, I immediately visualize that this would be a good song for Paul Stanley. There is a bit of a KISS vibe here, to my ear. It’s surprising to hear, but I like it. It gets funkier in the middle than a KISS song, certainly. It brings the early classic “Sting Me” to mind at times, too.
I expect to see myself referencing Southern Harmony a lot - it’s one of my all-time favorites.
“Rats and Clowns”… wait a second, what? “Greasy feet on dirty sheets, Arizona rubbersheets?” Someone clue me in, please. I live in Arizona and have never heard anything about rubber sheets. It is hot enough here already, thanks. Nice solo, Rich.
“Cross Your Fingers” starts a little like “Thorn in My Pride” before moving into a story about a relationship that clearly has some issues. “Why you want to cross your fingers, why you hope I die?” Seek counseling now.
I was not in love with “Wanting and Waiting” when it first came out, but its familiarity is welcome here as the fourth track. I forget sometimes how much I like the Black Crowes, and this one has grown on me a bit. Still, I hope a track demands attention, like “Go Faster” did on By Your Side.
“Wilted Rose” has an acoustic opening, and it’s nice and bluesy. Rich Robinson puts together some nice guitar parts, and the background harmony by Lainey Wilson brightens things up considerably. The organ keeps things sounding even more down-home, and a thunderous instrumental bridge section returns us to that sweet harmony. The ending is a little anti-climactic, but I like this track.
After the flip, we have “Dirty Cold Sun.” This song is driving the point home for me, I think. The Black Crowes have always served up their influences on a silver platter. That is ultimately apparent in each track. “Bleed it Dry” has a Rolling Stones “Midnight Rambler” swagger to it. By the time “Flesh Wound” started, I was pining for something up-tempo to break the mood. That is a shift this track thankfully provides. Someone starts trying to be Roy Bittan in the middle, with a piano interlude breaking things up like it was a Springsteen song before things kick back in through the end. We are keeping this one - my favorite so far.
A guitar groove opens “Follow the Moon,” with Rich front and center again. It’s a busy lick, but he keeps it rolling as Chris sings about something I couldn’t possibly imagine based on the lyric sheet. I should stop trying - my eyes are old enough.
“Kindred Friend” is here to close the proceedings. I’d say it is Allman-esque, and I would look forward to hearing this one as a live show closer. It seems well-suited for it.
There are some nice moments on Happiness Bastards, and this will get some repeat listens. High points for me are found in “Wilted Rose,” “Flesh Wound,” and “Kindred Friend.”
I will put “Bedside Manners” back on because it was a good, uptempo Black Crowes tune, and now I am really in the mood for one of those.
Maybe I’ll break out “Hotel Illness” next.
Give Happiness Bastards a spin, and tell me what you think. Thanks for reading!
