Lions

Enter V2 Records and producer Don Was. 2 1/2 years after the BYS disaster, the Crowes "finally had complete control over everything" while recording "Lions", according to Crowes frontman, the long-haired Chris Robinson. This freedom was thanks to the production style of the brilliant Don Was, who merely made suggestions to the Crowes rather than bossing them around. The result was The Black Crowes' most diverse, yet cohesive effort ever; Lions contains as many influences as 1994's eclectic masterpiece, "amorica." Yet, in its flowing-from-song-to-song style, "Lions" is more of a single musical statement than the sometimes broken "amorica." (Try the Wiser Time/Moneywaster/Descending sequence in amorica. for this broken-ness.) In addition, Was brought an air of professionality to "Lions" with his production; production is brilliant, with effects and overdubs in all the right places, while still managing not to sound over-produced, unlike the squeaky-clean, sparkly "By Your Side."

The album opens up with a wave of feedback from Rich Robinson, guitarist and songwriter extraordinaire (and Chris's brother), which segues into "Midnight From The Inside Out," a full-throttle rocker which echoes influences obviously picked up from the Crowes' recent tour with former Led Zeppelin guitarist Jimmy Page. "Midnight" then flows into the album's first single, "Lickin." With its catchy riffage (produced by a toggle-switch technique on Rich's part) and vocals that follow and therefore enhance the riffs, "Lickin'" is one heck of a funky good time. "Lickin'" ends with a power-chord blast from Rich, and is immediately followed by the sports-anthemic "Come On," a classic 70's-esque rocker with a very Aerosmith-esque midsection. "Come on, come on, let's get this thang started," Chris sings in it, because "Lions" is really just getting started at this point. Next up is "No Use Lyin'." With its rather abrasive crunchy guitars and equally abrasive chorus, ("There's no use in lying, because I've heard all your bull**** before!) "Lyin'" contains an almost modern-rock vibe, very unlike the Crowes' past efforts. However, a deeper glance into the lyrics reveal the inspiration for this track's harshness: knowing a girl like the one Chris is singing about brings about feelings just as if not more so abrasive as "Lyin'." "Losing My Mind" follows, which is a great, mellow song that contains flourishes of orchestral strings, a new musical concept for the Crowes. It's lyrical paradox ("...yes I love you, even though I know I should stay away, because I hate you...") deserves careful analysis. Next up is the screwball of the album, the delightfully funky "Ozone Mama." At first listen you may think that Chris trying to rap. However, any music lover worth their salt in jazz and funk knowledge will immediately appreciate the lyrics of "Ozone Mama" as playful, funky scatting. Following "Ozone" is the albums most Crowes-esque track, the psychedelic "Greasy Grass River." Containing a virtuoso soloing performance from Craig Ross of Lenny Kravitz's band, "River" is a Hendrix/Beatles-influenced guitar-rock romp. "River" then fades into the wonderful "Soul Singing." "Singing" is just one of those songs that makes one smile upon listening to it; it's a beautiful, gospel-influenced affirmation of one's soul. Up next on "Lions" is the beautiful "Miracle to Me," the perfect love song. While not overly cheesy as a love song, (try "By Your Side" for PLENTY of that!) "Miracle" shines as the Crowes' most beautiful effort yet. Chris is in top form on "Miracle," belting out soulful, passionate lyrics that express the very essence of the feelings he's singing about. Next up is the Sly and the Family Stone-esque "Young Man, Old Man." Groovin' and downright funky, if YMOM doesn't make you Shake Your Money Maker, nothing will. YMOM segues into the delightfully trippy, Beatles-esque intro to "Cosmic Friend." The intro, complete with multiple sounds and marching-drum beat, brings to mind the Sgt. Pepper's album. Then, just when you're about to be lost in a purple haze of psychedelia, the song blasts off into its crunchy, catchy riffage, spacey, rocking choruses, and backwards guitar solo. Wonderfully 60's. "Friend" fades into "Cypress Tree," which contains a wonderfully dynamic mix of acoustic-laden verses and hard-driving choruses, (Listen to "No Speak No Slave" off the Crowes' second album, "The Southern Harmony and Musical Companion," and note the similarities in choruses.) further enhanced by more orchestral strings, which give the song flair and dramatics. Finally, "Cypress Tree" flows into "Lay It All On Me," which could possibly be the Crowes' "Free Bird." Anthemic and beautiful, the song builds and builds into a glorious crescendo, made possible by a brilliant, soul-grabbing solo from Rich Robinson, and the soaring orchestral strings accompanying it. After the last notes of "Lay..." fade out, one is left in a sense of awe at what they've just heard.

Brilliantly eclectic, "Lions" stands as the result of 11 years of musical development since the Crowes' massively popular debut "Shake Your Money Maker." When Chris recently stated "We've finally tuned into the song; the bigger circle of music guided by a higher power," about the Crowes, he was correct in saying so, as "Lions" is indisputable proof.


Crowes become FUN!   June 22, 2004
hangar-eighteen (Houston, TX)
11 out of 12 found this review helpful

You might hear complaints about selling out or glossy production effects, but in a weird way, this might be the Crowes best album. The rudimentary Faces/Stones-like sound of the first album is gone and so is the languid Allman-esque jamming of the later albums. This has ben replaced by a sort of Zepplin meets "Fresh"-era Sly Stone approach with vintage 70's metallic riffs which are balanced by a very funky beat. There's also Stax/Motown horns, female back-up singer choruses, cartoony P-Funk refrains and Chris Robinsons best vocals ever (he's actually learned to harness his already amazing voice). This record is much more focused than previous attempts with really modern sounding production and some very tight pop sounding tunes. If this isn't their best record, it is definitely their most interesting and most fun.


MOTTS   February 2, 2002
Kim Fletcher (Pattaya, Chonburi Thailand)
10 out of 11 found this review helpful

Chris and Rick Robinson of the Black Crowes have never been shy of wearing their hearts on their Rock yny Roll sleeves proudly showing off their influences. The Rolling Stones (Keith not Mick), The Faces (Ronnie Wood not Rod Stewart), Humble Pie (Steve Marriot not Peter Frampton), and now after touring the states with Jimmy Page they have released Lions with a heavy Led Zeppelin Presence era feel to it.

It may be cliched, but for the Black Crowes it really has been a long strange trip. They completely startled the world with their 1990 debut yShake your Money Makery, and now in 2001 it looks like they are going to do it again with yLionsy. In the years in between they have released 4 very varied albums, both in critical acclaim and sales. They have been kicked off a worldwide tour with ZZ Top for not towing the Budweiser sponsorship line. Their story has ranged from the ridicules to the sublime, heady and dangerous, a line up of changing musician that would make Spinal Tap look stable, and sometimes thrillingly out of control. Musically itys been peaks and troughs, but yLionsy finds them on the very crest of a wave.

On the opening track yMidnight from the inside outy Chris Robinson blares forth after the guitar feedback locks into a guitar chugging rhythm with an opening salvo of yHere where angels never sleep / The waterys dark and deep / and you breath molassesy. The effect is excruciating, clammy, sweaty, exhilarating - all rolled into one. It sounds like Walking Street should do at midnight.

For itys part in the proceedings, yLionsy is a wholly remarkable C.D, mostly recorded in rehearsals, so it has a very live sound. Right up there in your face, it captures the Black Crowes vitality and indubitable spirit from the heavy imagery of its psychedelic third eye lion head cover artwork to the bold grooves of ySoul Singingy, the uplifting evocation of yCosmic Friendy, or the lingering refrain of the anthemic closing ballad yLay it all on mey where the Robinson brothers really stretch out. The whole album has a rock solid groove that locks you in at the beginning, and doesnyt let you out until the dying notes ripple from the guitars. It embraces the bands impure soul (in a very worts and all way) and gloriously ragged Rock yny Roll. Itys full of fervor and heart, reminding you why everybody falls so heavily for them the first time you hear them.

Producer Don Was sprinkles his magic over the tracks, but never taking away the roughness which is all part of the Crowes charm.

Lions are kings of the jungle, how very apt. A great Rock yny Roll record, lets just hope that the Crowes stay on these rails.
Mott the Dog.


Track by track... well, at least it beats "By Your Side"   May 18, 2001
7 out of 15 found this review helpful

Midnight from the Inside Out - great opening track

Lickin' - okay riff but a weak tune

Come On - Crowes doing what they do best - ripping off the Stones circa Exile on Main Street... surprisingly this is one of the better tracks on the record

No Use Lying - good angry rock song with a solid groove

Losing My Mind - some have said this is the worst Crowes tune ever... am I crazy, I kind of like it!

Ozone Mama-... the Stones circa Voodoo Lounge; a sign of the band's progression since track #3???

Greasy Grass River - pretty plain tune, not too much to recommend it; sounds like an Amorica outtake.

Soul Singing - speaking of outtakes, this one could still be sitting around from "Moneymaker"... yes, it sounds that stale (and kinda corny)

Miracle to Me - Classic Crowes: a beautiful song that is the strongest on this album and stands with the best stuff the band has ever done... if there is anything to redeem the late work of the Crowes, this is it.

Young Man, Old Man - what the hell is this? ... Stones circa Black and Blue??? Never gets off the ground.

Cosmic Friend - hear the Zep influence seep through... this song works, but I have no idea why. Magic.

Cypress Tree - a weak rewrite of "No Speak No Slave". You can tell that a band is running out of ideas when...

Lay it all on Me - typical Crowes ballad with nothing special to recommend it. Not their greatest closer, but passable.

I still give it ****. Why? Cuz it's good to hear these guys again, especially at a time like this. And compared to "By Your Side" anything sounds like a gem. Here's hoping the guys are inspired to return to the varied and original sounds of TSHAMC, Amorica, and TSAOC.


Not bad, but missing that spark   May 11, 2001
Chris (Point Pleasant, NJ United States)
6 out of 8 found this review helpful

The newest from the Black Crowes is a good modern rock record, but doesn't stand up to the Crowes at their best (their first two records, and By Your Side). It doesn't have the same swagger and whiskey soaked soul that these releases had and actually harkens back to Three Snakes (Steve Gorman said in an interview that a lot of these songs have been floating around on demos since 97). The melodies and lyrics are reminicient of that album, but with a contemporary sound that really doesn't fit the band.

None of the songs are as good as what was on By Your Side. There's none of that casual, good time R&B. It sounds like Don Was's talent for taking perfectly good artists and steering them perfectly clear from whatever magic filled their finest work (think the Stones Voodoo Lounge and Dylan's Under The Red Sky). Rich Robinson's guitar is swamped with so many effects there's none of that trademark tone or Stones-style stomp. Don't get me wrong. This isn't a bad album over all, but it doesn't sound much like the Crowes. There are defenetly some hints that they can still get into that groove, but do yourself a favor, and if you don't have them already, pick up Southern Harmony, By Your Side, and Shake Your Money Maker first.