The Black Crowes - Warpaint

We here at Burnside have become extremely busy with our journalistic endeavors and have decided to follow the lead of more prestigious writers, such as the ones over at Maxim. From now on, our music reviews are going to be our best “educated guesses,” which will not only benefit us by saving us a lot of time, but will benefit our readers as well! You’ll be able to catch a review for Coldplay’s upcoming album at least a month in advance!

Well, not really.

Perhaps the folks over at Maxim believe this whole ordeal of publishing a review of the Black Crowes’ Warpaint before even listening to it has been blown out of proportion (it hasn’t really) and has tarnished their magazine’s reputation (it has), but if anyone should be complaining it should be the Chris Robinson and the gang as the release of their latest album has been overshadowed by Maxim’s bogus reviewers. It is unfortunate that for many music listeners their only exposure to this album will be through the well reported controversy of the negative “educated-guess-review” Maxim published. However, for those who actually give Warpaint a fair listen, they will see the album for what it is - a well-written, musically impassioned release.

If nothing else, Warpaint can be seen as a beacon of hopeful ambition and spiritual yearning. The celebratory “Goodbye Daughters of the Revolution” is a suitable opening to this album with lines such as “Hallelujah, come join the jubilee”. A similar atmosphere is found throughout much of the remainder of the album, however, it is not a superficial optimism free from reality. Wisps of heartbreak can be found in the lines of “Oh Josephine”, and a grim recognition of the perils of the modern world makes up “Walk Believe Walk” but is met with the counsel to “pray on, pray on, my brother”.

Musically, the Crowes are at their best on Warpaint with hand clapping blues romps like “God’s Got It”. Even their slower-paced songs, such as the piano and mandolin led “Locust Street”, remain powerful enough to keep the listener enraptured with Robinson’s raspy vocals. Perhaps the most stunning piece on Warpaint is the closing “Whoa Mule”. An eclectic mix of harmonica, hand drums, slide guitars, and songbirds (the band allegedly recorded this song outdoors), “Whoa Mule” sounds like a campfire sing-along with the band, and is in itself worth the purchasing price.

After listening to Warpaint, listeners do not see the Black Crowes’ creating anything strikingly groundbreaking - no synth solos or drum machines, no experimental noise rock, etc. - just the familiar bluesy, beer and BBQ ballads they have become known for. But who cares? The Crowes’ have established their musical niche and have remained there without getting old and stale. Far from the laughable 2.5/5 rating Maxim doled out, Warpaint deserves much greater recognition and will most likely receive that recognition from anyone who actually listens to the whole album.