The Chris Robinson Brotherhood

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Betty's Midwestern Magick Blends Vol. 4

 Silver Arrow

 2018

There are two bands it's hard not to mention when talking about the Chris Robinson Brotherhood. One is, of course, the Black Crowes, the group Chris Robinson formed with his brother Rich, a band that brought some much-needed roll to the 90's rock scene before their volatile relationship and sibling rivalry finally became too much for both to continue in the same outfit. The other is the Grateful Dead, who's example of constant touring, while changing the set list every night for their travelling fans, and then releasing those shows on a multitude of live recording, seems to have been taken as an instruction manual of how a modern band can not only survive, but prosper on their own terms in this age of something-for-nothing streaming services.

 

The Grateful Dead references don't end there, either. This live recording, and several others CRB have released on their own label, Silver Arrow, since 2013, was captured by the legendary Betty Cantor-Jackson, a recording engineer who taped hundreds of Grateful Dead concerts during Garcia & co.'s peak years. Her ability to capture the magic(k) of a band in full flight has certainly not faded with time.

 

This set kicks off with rolling ivories, heralding Forever As The Moon, a keyboard line that bares more than a passing resemblance to the intro of the Doo Doo Doo Doo Doo (Heartbreaker). The snaking slide guitar of Neal Casal that soon accompanies the piano vamp does nothing to dispel the Stones comparisons, although the lyrical poetry owes more to Dylan than Jagger in this instance. In fact, most of the tracks selected here represent the more rootsy side of CRB's recent output. Psychedelic interludes and flourishes still remain, though, and the bands ability to stretch out and jam is shown off to fine effect, especially on the barnstorming 11-minute version of the Jerry Leiber-penned, southern soul hit, Down Home Girl, originally recorded by Alvin Robinson. Peppered with some deliciously funky Sly Stone clavinet, it would almost be worth the price of the concert ticket just to see this performed live. The yearning cowboy melodies of Shadow Cosmos follows, then lead on to possibly their biggest song yet, the epic Narcissus Soaking Wet. A-10 minute monster jam that definitively answers the question "What would it have sounded like if Pink Floyd and Stevie Wonder had got it together in their mid-70's pomp. Robinson spits out a couple of bad-ass honking harmonica solos before Neal Casal lets rip with a stratospheric guitar solo.

 

Casal originally started off playing for Rickey Medlockes' southern rockers Blackfoot, before making a name for himself in Ryan Adams backing band the Cardinals. Apart from his role in CRB, he also currently plays with Hard Working Americans, The Skiffle Players and Circles Around the Sun. His quality guitar playing and song writing always add a real touch of class to every project he's involved in. But back to the gig, and the soul/prog experiments continue on Precious Precious. originally a hit for Jacksonville soul diva Jackie Moore and here featuring a mammoth Moog solo that I'm certain was never envisioned by the writers when the song was first composed. For Black Crowes fans yet to experience Chris Robinsons current direction, the most Marmite aspect will most likely be those keyboards. The bending analogue sythesizer lines of Adam McDougall play a prominent role in much of the music made here, which can be a shock to those used to the Humble Pie / Faces grittiness of those early Crowes releases. There can certainly be a fine line between the Mothership funk of Bernie Worrell and the theme from Grange Hill and, although the combination of sounds at first seemed like very odd bedfellows to me, I have really grown to love the qualities that sound brings. Quite often it's the grit in the oyster that elevates the CRB output into something truly unique. Another cover follows in the form of Magic Carpet Ride, a faithful, if more fleet-of-foot, rendition than the Steppenwolf original. Those feet well and truly leave the ground when the band ignite their rocket boots and launch into full wig out mode (twice!). Then it's back to the original compositions with the desert blues of Somewhere Past the Sunset, recalling Texan guitar god Joe Ely, amongst others. This is followed by a magnificent version of one of my favourite CRB tunes, New Cannonball Rag, which, at nearly 13-minutes, takes the Deadhead boogie of the studio version right out to the edge of the Solar System and back.

 

Robinson’s vocal dexterity is on fine display all throughout these recordings, but especially during It's All Over Now, Baby Blue. Most of Dylans' compositions have been covered several times and this one is no exception, yet despite the rarified company, Chris more than holds his own, as the band add shades of Leon Russell to this spin on this old classic. I've always been a big fan of Robinson’s delivery, right back from when I got to see them in Manchester on their first UK tour waaay back in 1990. Considering his herbal requirements and his relentless touring schedule, his voice has survived remarkably well in a way that belies his age. The register is maybe a fraction deeper and the edges a little more grizzled, but he was, and remains, a rock singer of unique quality and soul. Backed by a band that plays with all the assurance of The Band, the audacity of the Allmans and is free of the shackles of expectation that comes with having to play songs you first wrote nearly 30 years ago, you can just tell that Robinson is right where he needs to be at this point in his career, and enjoying every minute of it. You can hear it in the assured delivery of the last two CRB compositions, Ain't It Hard But Fair and California Hymn, and, as if to silence those blinkered old Black Crowes fans who just won't be happy unless Chris Robinson is shaking his moneymaker to a Stones back-beat, this quality collection finishes with a dynamite rendition of Let It Bleed that could only come from that wily old Crowe.

 Michael Hosie





 

SVVAMP

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SVVAMP 2

RidingEasy Records

2018

 

It may be nearly 6000 miles between Jönköping, home to Swedish band Svvamp, and Hemosa Beach, California, where RidingEasy records is based, and no doubt the weather couldn't be more different, but despite the distance there's clearly a strong affinity linking the ethos of this band and the record label that signed them. Long-time friends Adam Johansson, Henrik Bjorklund and Erik Stahlgren were drawn together by a love of jamming the type of fuzz heavy blues rock that was all the rage in the early 1970s. If you've checked out any of the RidingEasy compilations, Brown Acid (a series focusing on rare as hen’s teeth hard rock and heavy psych, now on its 6th trip), then you might understand that this is a match made in heaven.

Justas the Brown Acid series features an array of private-pressed and self-released underground rock music from way back when, so there's a definite homespun quality to the kind of music Svvamp make. The band’s first album was self-recorded on a 4-channel cassette deck and their second album continues very much where the previous one left off, despite the band having indulged in the decadent luxury of recording on a 6-track system. Oversized mixing desks aren't really needed here, though, as this is music that keeps things nice and simple. Eschewing unnecessary bells and whistles for a classic sound that is simultaneously heavy and rocking, yet lazy and loping, Svvamp have the confidence to let their music take its time in much the same way that the music of Free refused to be hurried. 

 

There's certainly a rollcall of classic rock influences here, from the sleazy slide guitar and Mountain-esque riffs to be heard on Queen, which could have been picked from Leslie West's extremely large pockets, to the Zeppy crunch of Hillside and the weighty Sabbath blast of Alligator, which closes the album. It's not all heavy stuff though, Sunshine Street is reminiscent of Hendrix at his most poppy and playful, while How Sweet It Would Be builds on a Canned Heat choogle, with bassist Erik Stahlgrens softer vocal approach sounding a little like Marc Bolan after a hit on some killer weed. Guitarist Henrik Bjorklund also gets to sing on the beautiful solo spot Blues Inside, too. It's usually drummer Adam Johansson who takes care of vocal duties, though, also contributing the bubbling synthesizer lines which lace Surrender, probably the most psychedelic track on Svvamp 2. It's the gritty Out of Line, though, that confirms this LP as a record for Whiskey Preachers. It has Lynyrd Skynyrd's bad boy groove written all over it and the band build up a real head of steam that is impossible to resist.

The only criticism of Svvamp 2 from me is that sometimes the vocals are a little lost in the mix. I can’t help but wonder what this band would sound like with a designated singer up front, belting out these tunes. But then again, maybe that would all be a little too showy for these guys, a band who clearly like to just get their heads down and rock. I reckon this band will be riding easy for a long time to come.

Michael Hosie