The Black Crowes - Warpaint Live Blu-ray

Having great confidence in the album, likely because they had heard it as opposed to simply passing judgment from one new song and the band’s catalog (say like David Peisner, formerly of Maxim), The Black Crowes toured in support of Warpaint and performed it in its entirety. This Blu-ray captures their concert at The Wiltern Theatre in Los Angeles, California on March 20, 2008, less then three weeks after Warpaint’s release, which was was previously listened to and reviewed here.

Playing the album in order, the concert starts with the joyous “Goodbye Daughters of the Revolution.” When Chris Robinson requests people “come join the jubilee,” it makes for a perfect start to the festivities. He sounds in fine form whether belting out a rocker or delivering a ballad. Back-up singers Charity White and Mona Lisa Young make for great accompaniment.

The presence of Adam MacDougall’s organ and Sven Pipien’s bass really come through on Evergreen’s arrangement. Chris strapped on an electric guitar to augment his brother Rich and Luther Dickinson for “Wee Who See The Deep.” Dickinson switches to mandolin for the country rocker “Locust Street.” During the lead in on “Movin’ on Down the Line,” MacDougall’s organ sounds like its underwater, reminiscent of John Paul Jones’ playing on Led Zeppelin’s “No Quarter.” Steve Gorman comes out from behind his kit wearing a marching bass drum and drum major regalia for a rendition of Reverend Charlie Jackson’s inspirational gospel number “God’s Got It.”

After taking a break, they return for a short second set. They open with Delaney, Bonnie & Friends “Poor Elijah - Tribute To Johnson,” followed by two slow, bluesy songs that flow well together from The Southern Harmony and Musical Companion era: B-side “Darling Of The Underground Press” and “Bad Luck Blue Eyes Goodbye.” They create a Bramlett bookend with Eric Clapton’s “Don’t Know Why,” which Delaney co-wrote, and leave the stage. They come back to encore with The Rolling Stones “Torn And Frayed” and close out the night with a grand flourish with Moby Grape’s “Hey Grandma.” Chris played acoustic guitar on the former and electric guitar on the latter.

No slight intended to anyone else but the main highlight of getting to see the Crowes live in action is witnessing the brilliant talents on display by new member guitarist Dickinson whose contributions have really propelled their sound to great heights.

The video is presented in 1080i High Definition Widescreen with a 1.78:1 aspect ratio. The band plays under a haze of stage smoke and shifting multi-colored lights, contributing to why the details lose some of their sharpness at times. There is some occasional video noise, but not enough to ruin the viewing experience.

The audio is defaulted to LPCM Stereo and is also available in Dolby Digital 5.1 and DTS HD Master Audio. The DTS offers a good dynamic range while the bottom end is well delivered through the subwoofer. The audience can be heard well in the surround speakers as the show opens and in between songs

Warpaint Live offers a fantastic night of music for Crowes fans, or at least 103 minutes depending on when you watch it. The Blu-ray captures the sights and sounds of a Crowes concert. The only thing missing is the (herbal) smells.

The Black Crowes: Warpaint

[Dear Maxim Editors, since you likely have a job opening what with the recent “incident” over your “review” of the new Black Crowes CD combined with the “writer” in question, David Peisner, throwing you guys under the bus by proclaiming his innocence to the Los Angeles Times even though his words obviously contradict him, I present a sample:]

An Educated-Guess Preview:

It’s been seven years since The Black Crowes gave listeners an album full of new music, and Warpaint satisfies that itch. The last few years of touring has knocked off the rust and this murder of Crowes is ready to slay you the neo-classic rock sounds that have thrilled their listeners since the ‘90s. It’s a good mix of groovy rockers that will have you up on your feet and tender ballads that’ll bring out the lighters, which Crowes’ fans usually have out anyway.

[Artists are much more open to the notion of receiving reviews by hacks that haven’t listened to their work when said hack is positive. You might as well give them four stars because surely no one will complain. The Crowes should be happy with the high praise, and the knuckleheads who read your magazine will be too busy, daydreaming without their pants over girls they’ll never meet, to notice. Now, if you are going to be changing your ways, I have this for you:]

A Review:

After going on hiatus in 2002 and playing live since 2005, the Robinson brothers and their cohorts deliver 11 new tracks of classic Black Crowes material that should satisfy fans as they explore their musical roots, but if you didn’t get them before, Warpaint won’t change your mind.

“Goodbye Daughters Of The Revolution,” the album opener, offers a call to “come join the jubilee” of both Warpaint and of what life has to offer. Music has a great power to remind people of what they are missing, which is why many bust “outta sawdust town” or the city to go claim what they need out of the numbered days.

There’s familiar-sounding guitar work that most writers will likely still feel the need to point out is reminiscent of The Faces and The Rolling Stones of the early 1970s, either to unintentionally reveal their age or thinking they are proving their rock music bonafides. We got it. The Crowes’ sound is stuck in time, just like that comment which has been stated since their first album in 1990. Let me guess the next pearl of wisdom. “MTV doesn’t play videos anymore.” At what point does the music become the sound of The Black Crowes? Eighteen years out, I don’t think they are dabbling anymore, and they sound good playing it.

“Walk Believer Walk” is a wonderful swamp blues, dark and deep, that has to be led by new addition Luther Dickinson from North Mississippi Allstars. The organ sounds fantastic, filling the rhythm section, offering glimmers of sacred through the profane. This one will be fantastic live.

As well as they rock the house, the Crowes have always been able to slow it down and create wonderful ballads. “Oh Josephine” fits the bill as the music’s melodic beauty is likely to make it a fan favorite and will obscure the story of the junkie torn between his love for her and his addiction. The coda is a great close, allowing you to drift off and learn the ending of the story without it being revealed in words.

“Evergreen” follows in contrast. Rather than love on the rocks, it’s a positive love song that rocks. Dickinson’s solo is almost too good; I was completely captivated and didn’t want to return to the song.

The album continues rocking and rolling with the band slightly altering their sound as they segue throughout the album’s remainder, from the southern rock of “Wounded Bird” to the mandolin-embellished country-rock of “Locust Street” and even slipping in a rousing cover of Reverend Charlie Jackson’s gospel number “God’s Got It.” In the end, The Crowes reveal all the labels can be stripped away because at the core it’s all just music, plain and simple.

The Black Crowes work for many because the listener knows what they are going to get: good music that’s comfortable and familiar. The band is that old favorite t-shirt or pair of jeans, quite possibly out of fashion, but damn, if they don’t always feel right when you slip them on.

[On second thought, save the offer. My integrity is not for sale and I don't want to be tainted by being associated with your magazine. Thanks anyway.]