The Black Crowes' 'Happiness Bastards' - Album Review

When the Robinson brothers announced back in 2019 that The Black Crowes would reunite to celebrate the 30th anniversary of 1990's Shake Your Money Maker, I hoped that, at some point, I would be writing about new music from the veteran and well loved southern/blues/jam rock group. Frontman Chris Robinson and guitarist Rich Robinson, the only two musicians who have been in the band since its 1984 genesis, have not always seen eye to eye, though, with the band being on hiatus between 2002 and 2005 and again between 2015 and 2019. Lots of musicians have come and gone through the band's ranks over the years and the brothers captaining the ship have had the odd spat over the years - something which seems inevitable when it comes to siblings working together! Despite the band's latest reunion being disrupted by the pandemic, though, since being able to tour again The Black Crowes have been busy. With essentially a whole new line-up behind them, with the exception of long-time bassist Sven Pipien who came back on board in 2021, The Black Crowes of 2024 is different to the various incarnations of the past. It does seem that the Robinson brothers have put their various differences to one side, too, and there seems to be a lot of focus again on making the band a success. Of course, though, The Black Crowes have been successful for years. Whilst they are not exactly world-beaters, they are one of those bands who stealthily became really rather big - which is surprising given the band's love of an earthy jam and an arrangement which is not always obvious. In my opinion, though, this is no bad thing. Bands that push the envelope are always welcome and more interesting by default - and I really like The Black Crowes' take on rootsy rock, building on what The Allman Brothers Band and the Grateful Dead did but with a more Rolling Stones/Faces-esque strut. I am not always in the mood for the band's complex and loose sound, but sometimes nothing else will do - and the band's handful of live albums are always fun to delve into. Prior to last month, though, it had been 15 years since the band released any new material. In fairness, 2009's Before the Frost...Until the Freeze was a double album - but the fans were crying out for something new. Last month, though, the band delivered - and Happiness Bastards was released. It is the band's ninth album of original material, their first since Before the Frost...Until the Freeze - not counting 2010's Croweology, a largely acoustic-based collection of reworked songs. I think it is fair to say that the band's recent focus live focus on Shake Your Money Maker, which is easily the band's most hard rocking and accessible album, has influenced Happiness Bastards. It is the band's shortest album to date, at just under 38 minutes, and the arrangements are very tight throughout. The band do not always focus on hooks, but that seems to have been the case here. I really like the approach taken on this album, but some may miss the jammier aspect of the band's sound - although I am sure that live some of these songs will take on new heights. With the Robinson brothers and Pipien seemingly the official core of the band currently, the three are joined here by guitarist Nico Bereciartua, keyboardist Erik Deutsch, and drummer Brian Griffiths - all of whom are currently touring, or have previous toured, with the band.

There are a few mellower moments here, but overall Happiness Bastards is a pretty up-tempo and hard rocking album. The kick-off track Bedside Manners is a good example of such and it opens with a propelling drum groove, barroom piano melodies, and some trashy slide guitar licks. The overall production style utilised throughout the album is perhaps a bit smoother than is typical for the band - but there is enough of a rawness to allow the band's character to shine. Chris' voice is as raspy and full of grit as ever - and he really belts out the track during the fast-paced chorus. The guitars are pretty rustic behind him, but the busy piano from Deutsch adds some additional melodies - whilst Hammond organ is utilised during the chorus for plenty of extra depth. Vicki Hampton and Joanna Cotton sing backing vocals throughout the whole album, and their soulful additions really boost this track - with the choruses sounding big and memorable thanks to the combination of the backing vocals and the rumbling organ. A brief instrumental section sees a few more organ stabs really taking hold, but there is not a lot of cutting loose here - save for the closing moments which sees more slide guitar take over. Rats and Clowns initially seems like it is going to be more of a mid-paced piece, as it opens with a pretty deliberate guitar riff, but when Chris starts to sing the song speeds up. There is a punkish abandon throughout the track - with plenty of pent-up Rolling Stones-esque energy being let out. There is less looseness here and the track feels pretty tight overall - with Pipien's bass holding everything together nicely whilst the two guitarists lock in for a repetitive groove. The keyboards generally just add extra depth here, and do not really stand out, but a hooky chorus which could have sat on a Quireboys album showcases Chris' love of the occasional big hook - whilst the ladies again harmonise with him. A bluesy guitar solo takes the track to new heights later on; with the fairly lengthy and fluid solo being the album's first real instrumental focal point. Cross Your Fingers is the first somewhat slower piece here and it opens with a delicate, finger-picked acoustic guitar melody which is soon added to with some subtle slide swells. Chris sings over this slow-burning intro, and it seems as if the track is going to be a ballad, but this soon changes when the rest of the band crash in - and the track morphs into a mid-paced, groovy hard rocker with a Led Zeppelin-esque swagger. The riffing here channels Jimmy Page at this bluesiest, whilst the constant slide accents add a touch of class which would otherwise be absent. The verses are very much in that Led Zeppelin mode, then, but the chorus takes a different approach - with a lesser arrangement, ringing organ chords, and a machine gun-esque vocal approach. The chorus really shakes the piece up, then, but the core groove is always returned to - giving the song a real purpose and a grandness throughout.

Lead single Wanting and Waiting follows. It was the first taste we received of the album a few months ago and it is a good representation of its core sound. It works well as a single thanks to its catchy melodic approach as well as some key clap-along moments which are sure to go down well live. Again The Quireboys are a bit of a reference point and this is a track which certainly harks back to the early days of both bands - when Shake Your Money Maker and A Bit of What You Fancy were two of the hottest debuts on the block. The riffing here is snappy but mixed with a bluesy tinge, whilst the ever-present Hammond organ from Deutsch really elevates the song. The keyboard playing throughout this album is great but I really like the organ additions to this track. It just fills all of the gaps left by the bluesy riffing - whilst the pulsing bass also does its bit to keep the song feeling kinetic. The chorus is a real earworm, too, and I can see the song becoming a big live favourite as a result - with the ladies adding some great gospel-esque wordless hooks to really fatten up the arrangement. Wilted Rose is the album's first proper slower moment and it features guest vocals from country singer Lainey Wilson. The track is acoustic-based, with some busy, bluesy acoustic melodies opening things up, but the fat bass from Pipien ensures that there is a bit of a groove throughout. The drums are rather percussive early on, but come in properly as the song moves on - and Wilson also adds her voice to the mix, harmonising well with Chris. The song certainly feels like a ballad but the overall rawness of the production, the occasional organ, and the busy guitar playing does give the track a bit of an unusual edge. It does get heavier as it moves along, too, with the band building towards a chaotic slide solo in another Led Zeppelin-esque moment - which also features some pretty big wordless vocal moments from Wilson. It is a ballad with a difference, then, and one that gets better with repeated listens. Dirty Cold Sun returns to the album's core, harder rocking sound - and opens with a juddering main riff which soon explodes with a true hard rock groove and plenty more Hammond. The song's arrangement is drenched in different layers early on, but the verses generally feel a bit more stripped back. Pipien's sparse bass playing creates an interesting groove, which the guitars weave in and out of, but the chorus returns to the fatter sound of earlier - with plenty of big backing vocals and the roar of the organ. This is a track which really brings the best out of producer Jay Joyce in my opinion. If not dealt with properly, parts of this song could well have sounded quite muddy - but the mix and overall sound showcases all of the layers nicely whilst maintaining an appropriate level of rawness. The song's chorus really pops as a result and the occasional lead guitar moment also cuts through the mix with just the right amount of venom. Bleed It Dry is much rawer overall, but there is still plenty of a rock strut here. This sounds like a real throwback to the 1960s - and there is plenty of influence from The Rolling Stones to be found in the bluesy track. Chris plays the harmonica here to add additional depth, whilst his drawling vocals sit nicely over Griffin's booming drums and the gnarly slide guitar explosions. The percussive bassline and the barroom piano which is mixed into the background also hark back to that era - and the band have perfectly captured that feel here without feeling overly kitsch. It is a short song so it has the desired effect without dominating the album - and the harmonica bursts are a welcome addition.

Flesh Wound is another relatively up-tempo rocker, but the overall vibe of the piece is a bit different. There is a folky edge to the track, with bands like The Pogues brought to mind during some of the more overly melodic sections. The guitar melodies used throughout are very traditional-sounding in that respect and lack the typical bluesy approach of the band. They work well, though, and Chris sounds great during the folk/punk energy of the song's verses - before the chorus hits harder with plenty more excellent slide guitar playing and some shout-along vocals from Chris and the ladies. The punky vibes are certainly present during the chorus, but it also just feels like old-school blues rock thanks to the slide, and the vibe then changes again with a piano-led section which briefly slows the pace and returns to something folky - before one last chorus explodes out of the speakers. Follow the Moon is a bit more typical and it is a mid-paced rocker with a memorable opening guitar riff which is soon joined by a walking bassline and some piano accents to add depth. Following the strange and varied approach of the previous song, this track finds the band on more familiar ground. The main riff here could have easily sat on any of the band's previous albums and there is also plenty more slide on display here - particularly as the verses progress. This is one of those songs which slowly builds towards each chorus - with each verse starting out with just the main riff before piano, backing vocals, and eventually the slide really swell the arrangement. The chorus is very much a mix of all of these sounds, with lots of soulful vocal harmonies, whilst a later guitar solo is packed full of character despite its relatively short length. It is a good reminder of the band's core sound following the more dynamic previous piece and it also showcases why the band have often been considered one of the best in their field. The album then comes to a close with Kindred Friend, an acoustic-based ballad with some more harmonica and a lilting arrangement. Chris' voice here is much smoother and emotional than is typical, whilst the piano melodies nicely cut through the acoustic guitar base to contrast well with the vocals. Given the overall toughness of this album, the closing ballad is a reflective change of pace. The band have done plenty of slower songs in the past and this one is pretty typical of their approach - but as it is the only genuinely slow piece here it does stand out. Wilted Rose ends up rocking out, but this one does not - although the scale of the sound does increase thanks to a mix of swirling keyboards, some Pink Floyd-esque vocal arrangements, and choice slide guitar melodies. It is the most atmospheric the album gets so it closes things out nicely - and it is always good when an album ends with some warmth. There is a lot to like about this album and I have grown to essentially like every song over repeated listens. Despite a couple of more varied songs it definitely sticks to the band's early bluesy hard rock template pretty firmly - which may disappoint those who wanted them to stretch out a bit more here. I like the album's concise nature, though, and it is just good to have The Black Crowes back - with Happiness Bastards hopefully the start of a new chapter.

The album was released on 15th March 2024 via Silver Arrow Records. Below is the band's promotional video for Wanting and Waiting.