The Black Crowes

When the Black Crowes first went national, around 1990, the band became a walking/talking critical argument. Were Chris and Rich Robinson inspired revivalists, introducing rock and blues verities rendered with credibility and conviction to a new generation? Or were they figurative grave defilers, cynically cornholing the corpse of rock glories...

By Michael Roberts

December 11, 2008

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When the Black Crowes first went national, around 1990, the band became a walking/talking critical argument. Were Chris and Rich Robinson inspired revivalists, introducing rock and blues verities rendered with credibility and conviction to a new generation? Or were they figurative grave defilers, cynically cornholing the corpse of rock glories past for the entertainment of aging fans who loved claiming they dug a new band and didn't care that it didn't actually sound new? Back then, I sided with the latter line of reasoning, and in general, I still do. With so many fresh and exciting sounds to hear, why bother listening to a group that replicates timeworn ones? But those who prefer musical comfort food rather than unique flavors could do worse. The Crowes aren't dilettantes — they've devoted decades to favorite styles — and their latest album, Warpaint, is solid and substantial. I won't be at the Fillmore to see them, but I can understand why you might.

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Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

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