Review by Pete Finn for MPM
The Black Crowes fall into the, “Don’t ask me, just get me a ticket” category. I’ve been fortunate to see them many times, and no matter what the current line-up of the group is, the Robinson brothers and company always bring their “A” game and thus a wonderful Rock n’ Roll party into town. This evening Manny and I are off to Wolverhampton, not the regular destination of KK’s Steel Mill, but The Halls in the centre of town.
The Halls in Wolverhampton is a group of three venues with varying capacities, The Civic Hall (3,404), Wulfrun Hall (1,289), and The Slade Rooms (550). Tonight, we’re in the large capacity Civic Hall. The hall, which was designed by Lyons and Israel in the Classical style was completed in May 1938. This is the final date of four UK shows, The Black Crowes have invited The Jim Jones All Stars to be their special guests on all four dates.
We arrive and park on the street near to the venue, it’s free after 18:00, well done Wolverhampton Council. The efficient and courteous staff soon have us in, and I’m shown to my seat on the circle level.
According the website, Jim Jones All Stars is “A bubbling swamp curse of unholy rhythm”, and is the latest project from Rock N’ Roll/Garage/Punk Blues maestro Jim Jones. Formed during the Covid pandemic, it features The Jim Jones Revue members Gavin Jay on bass, and Elliot Mortimer on piano and keys, drummer Chris Ellul, veteran punk blues guitarist Carlton Mounsher, singer Ali Jones, and the dual tenor/baritone sax attack of Stuart Dace, and Tom Hodges. The band released their debut album ‘Ain’t No Peril’ during 2023.
A piece of Jazz music is played over the PA as the lights go out and the Jim Jones All Stars make their way onto the stage, a few of them sporting a nice array of hats. Jim Jones greets the Wolverhampton crowd, “Hello you sexy bastards”. They open with ‘Cement Mixer’ a Jim Jones Revue cover from 2008, the start is slow and deliberate, full of bass and a heavy riff. The band marching and dancing on the spot, Jones shouts out the lyrics, the rhythm section takes over with a marching beat, it’s impossible not to nod along.
A cover of Carl Lester’s 1961 track ‘When You See Me Hurt’ is next, Ellul’s drums and the sax’s start the ball rolling before the track continues with a classic rock n‘ roll sound. Those around me are grinning as Jones chants the lyrics, complete with a James Brown scream.
Jones has replaced his guitar with a pair of maracas. It’s time for something from the debut ‘Ain’t No Peril’ with ‘Gimme The Grease’. By contrast it’s quite a modern sound, Ellul’s drums at the forefront. Jones’ lyrics sound angry, there’s a brief Dace sax solo as the track ends.
The stage lights are pulsing red. The band wants the crowd to clap as the intro to ‘Burning Your House Down’ begins, this is a bit more bluesy with Mortimer’s quick piano in the background. Jones is crossing the stage as he sings. This is mellow and chilled out. Jones climbs down off the stage and onto the pit barrier encouraging the crowd to clap.
‘Parchman Farm Blues’ is a Bukka White cover originally recorded in 1940. Ellul’s drums and Mortimer’s piano feature heavily from the offset, Jay’s bass is working well with Jones’ calm lyrics. Stuart Dace adds a fiery sax riff. The pace picks up and it becomes a quick tempo jam. From my vantage point, I can see many in the crowd dancing, they’re enjoying this.
The band start clapping, the crowd join in. From last year’s album, it’s ‘I Want You (Anyway I Can)’, it’s a bit ‘Wipeout’, full of energy and fun, with quickfire bursts of instruments duelling with Jones’ lyrics. It makes you want to twist and jive. Ali Jones is dancing like no-one is watching. Loved it.
Jim Jones introduces ‘Troglodyte’ it’s a The Jimmy Castor Bunch cover that can be found on ‘Ain’t No Peril’. The band gets us to clap them in. Carlton Mounsher looks the coolest bloke in the hall as he plays his guitar. This is slower with Jones talking over the steady rhythm, the tempo builds as Ellul injects drum rolls. Jones is telling the story and The Halls are listening intently.
The cover of Otis Redding’s ‘Lover’s Prayer’ starts with Gavin Jay’s steady bass and considerate piano notes from Elliot Mortimer. This is calm and measured, giving the crowd a chance to get their breath back.
Jim Jones thanks The Black Crowes for inviting them on tour, then invites the crowd to “boogie with them before we leave.” The Jim Jones All Stars close their thoroughly entertaining and energetic show with ‘512’, it’s classic rock n’ roll the guitars are spinning and rolling the sax’s are swinging Quo style, the whole stage is a blur of movements as we’re covered by a blanket of sound. The band rock-out before closing with their instruments held above their heads. A great way to finish their set. The crowd in The Civic Hall thinks so too, and the cheering and clapping shows it.
Setlist: Cement Mixer; When You See Me Hurt; Gimme The Grease; Burning Your House Down; Parchman Farm Blues; I Want You (Anyway I Can); Troglodyte; Lover’s Prayer; 512.
The Black Crowes are an American rock band that was formed in 1989 in Atlanta, Georgia. The band was founded by brothers Chris and Rich Robinson, who serve as the vocalist and guitarist, respectively. The original line-up also included Steve Gorman on drums, Jeff Cease on guitar, and Johnny Colt on bass. The Black Crowes quickly gained popularity with their bluesy, Southern rock sound and powerful live performances. They released their debut album, ‘Shake Your Money Maker,’ in 1990, which included hits such as ‘Hard to Handle’ and ‘She Talks to Angels.’ The band went on to release several more successful albums, including ‘The Southern Harmony and Musical Companion’ and ‘Amorica.’ Despite facing internal conflicts and line-up changes over the years, The Black Crowes have remained a staple in the rock music scene, earning a dedicated following of fans.
This current tour is to promote their recent ‘Happiness Bastards’ album, which was released earlier this year. The present band line-up includes Chris Robinson (lead vocals), Rich Robinson (guitar, backing vocals) and Sven Pipien (bass). On this tour they have with them Cully Symington (drums), Nico Bereciartua (guitar) and Erik Deutsch (keyboards), also on backing vocals are Mackenzie Adams and Leslie Grant.
The lights go down as AC/DC’s ‘It’s A Long Way To The Top (If You Wanna Rock ‘n’ Roll)’ comes over the PA, the crowd are singing along. There’s a short narrative, the stage bursts into life, all the band are out, the guitarists and Chris Robinson at ground level, then situated above an impressive mountain of amps are the drums and keys, along with the backing singers, the stage is framed by old school stage curtains, and a “Happiness Bastards” banner above.
There’s a large Chuck Berry cut-out stage right. Chris Robinson who is wearing a black sequined jacket, and a silver version of Dorothy’s ruby slippers, has a huge mirror behind him, he claps along with Symington’s beat before launching into the opening track from ‘Happiness Bastards’ with ‘Bedside Manners’. This blues strut has the crowd bouncing from the off. Rich Robinson is stomping as he crashes the powerful notes. The track builds to a big finish as Wolverhampton erupts.
“The Black Crowes are in Wolverhampton tonight!” cries Chris Robinson before introducing ‘Rats and Clowns’ again from ‘Happiness Bastards’. Rich Robinson’s big riff keeps the pace up, Chris is chanting the lyrics, the rhythm section of Symington and Pipien are delivering a fierce beat. It’s a bit punk does the blues, it’s a wonderful mix. Robinson’s screamed vocal brings the track to a close.
We travel back in time to 1990’s debut, ‘Shake Your Money Maker’ for ‘Twice as Hard’. The spotlight is on Rich Robinson as he plays the intro, Chris Robinson’s vocal slices through the atmosphere making the spine tingle, he dispatches the words with ease, the harmonies of Adams and Grant are soothing, a big contrast to Rich Robinson’s raw riffs. The combination is great.
Chris Robinson dedicates the next track to “all the people we’ve loved, and have taken the fast road to their bliss.” It’s ‘Horsehead’ from 1999’s ‘By Your Side’, Rich is playing a dirty heavy riff, the track is slow and heavy. Chris is twirling and spinning his mic stand as he jigs around the stage. Adams and Grant add vocal harmonies.
Chris tells us this song is about a heavy night and that feeling you have the morning after, it’s The southern blues sounds of ‘Stare It Cold’ from ‘Shake Your Money Maker’. This is a foot stomping boogie of a track. Quick beats, fast riffs and Nico Bereciartua’s slide guitar is complimented with Erik Deutsch’s rapid keys. Rich Robinson is playing a chugging riff, the track closes with a gospel choir style finish. The Halls are jumping.
Bereciartua’s haunting guitar starts, it’s back to ‘Happiness Bastards’ for ‘Cross Your Fingers’, the acoustic sounding strumming from Rich has a real Southern twang, the heavy beats give support to Chris’ prominent vocal, they’re quick, rap like. Eric Deutsch is stroking the keys on three of the four keyboards surrounding him. The pace is steady, heads around me are nodding along enjoying the sounds.
‘Wilted Rose’ is off of ‘Happiness Bastards’, with the single featuring Lainey Wilson. Rich is carrying the acoustic over his shoulder as he starts this country ballad. Chris’ controlled vocal is supported by Deutsch with a Hammond sound. Mackenzie Adams sings the Lainey Wilson part impeccably. Rich who now has a Stratocaster plays the track out.
Chris asks if we’ve noticed the Chuck Berry cut-out, then laughing he says the next track is by Bo Diddley. It’s a cover of his 1960 smash hit ‘Road Runner’, Rich Robinson begins that iconic riff. This is awesome high tempo Rock n’ Roll performed superbly.
Rich Robinson’s Spanish style guitar sounds introduces ‘Thorn in My Pride’, from ‘The Southern Harmony and Musical Companion’. It’s slower, Chris’ voice is full of feeling, the crowd are singing too. Nico Bereciartua crashes out the solo, Rich Robinson takes over, the track evolves into a full-on jam as they all rock out, with each of the musicians taking a turn in the spotlight. Chris plays the harmonica; someone ends up with a great memento as he throws it into the crowd when finished. The pace builds and builds, an epic track, it’s brilliant. The crowd respond with a massive cheer.
Chis introduces ‘Wanting and Waiting’ which is the current single. This has a real traditional Black Crowes sound. The crowd are swaying in time as Chris struts around the stage. Nico Bereciartua comes to the stage edge as he plays the guitar solo. Chris Robinson’s twirling dance moves brings the track to a close.
Chris Robinson says the next song is by the greatest soul singer of all time, and that The Black Crowes jumped on the back of it. It’s arguably The Black Crowes’ most well-known track, their version of Otis Redding’s 1968 soul hit ‘Hard to Handle’ which they recorded for ‘Shake Your Money Maker’ in 1990. Everything gets turned up to maximum, including the audience who have just gone ballistic, Chris Robinson has just got 3400 backing singers, they are hugging and jumping. The crowd is a sea of phones, recording this moment. Nico Bereciartua plays the solo, Cully Symington is nearly off his stool as he smashes his kit, the atmosphere inside The Hall’s is electric. The track finishes to a monstrous cheer.
‘She Talks to Angels’ from ‘Shake Your Money Maker’ sees Rich wielding the electro-acoustic guitar, he gently strums the intro, Chris joins in, the lyrics are careful, Bereciartua’s evocative notes add emotion. Arms are swaying above the audience as they immerse themselves in the passionate performance.
From ‘Happiness Bastards’ we have ‘Bleed It Dry’, Chris Robinson’s harmonica gets us going, it’s slow and bluesy. Erik Deutsch ‘plinks’ the piano as Chris glides across the stage, before Symington gives the track a big finish.
It’s straight into ‘No Speak No Slave’ from ‘The Southern Harmony and Musical Companion’, with its racing tempo the crowd are soon moving in time. This is heavier and Bereciartua’s closing solo is pure classic rock.
From ‘Shake Your Money Maker’ it’s ‘Jealous Again’, the bluesy swagger is back and sounding superb. Deutsch is tickling the ivories again to great effect. The Robinson brothers are centre stage as they duet into the same microphone. The track draws the listener in and holds the attention. Rich Robinson’s hook makes you smile. The band jam to the close, as Chris Robinson is pogoing on the spot.
Chris Robinson thanks the audience for coming out, the final track is ‘Remedy’ from ‘The Southern Harmony and Musical Companion’. The rich sound fills the hall, the crowd are dancing, Chris is twirling his mic stand, Nico Bereciartua plays the solo, the band rock-out and jam, before playing to a big finish, they applaud and thank the crowd, waving as they leave the stage. The crowd are whistling, cheering and clapping as they show their appreciation.
We don’t have to wait too long before the band return to the stage. Chris Robinson thanks The Jim Jones All Stars, before saying the final track is “For the sinners out there”, it’s ‘God’s Got It’ which is from 2008 and ‘Warpaint’. Its swamp blues sound has Chris Robinson producing some of his best “Elvis” moves. Nico Bereciartua gives the slide one final outing. Symington’s drum roll and crash of cymbals brings the show to a close, and once again the crowd inside The Halls show their appreciation, the band hug and applaud each other, and applaud the crowd as they leave the stage for the final time. It’s been an excellent show.
Setlist: Bedside Manners; Rats and Clowns; Twice as Hard; Horsehead; Stare It Cold; Cross Your Fingers; Wilted Rose; Road Runner; Thorn in My Pride; Wanting and Waiting; Hard to Handle; She Talks to Angels; Bleed It Dry; No Speak No Slave; Jealous Again; Remedy; God’s Got It.
Photography by Manny Manson for MPM
