I bought this record in college. The Black Crowes. Shake Your Money Maker. At first, before I played it, I thought another goddamn band from Georgia. More noise. More derivative shit. Bands trying to be something between REM and the B-52s, but without the punk. But it was god damn 1990, and we knew the world was going to end, so I put it on. Besides, the beer was warm, the ashtray was full, and I didn’t have class until 10 the next morning. Plus, the roommate was asleep, and that I just couldn’t abide. I loathe drinking alone if there is another person in the room.
First track, “Jealous Again.” It hit like a punch to the gut. Not a soft punch, not a pretty one. A real one. Like a bar fight that starts for no reason, and you’re just in it. The guitars were dirty, the vocals sneering, like a dog that’s been kicked too many times but still bites. It wasn’t polished. It wasn’t trying to be. It was just there. Raw. Like a fresh wound. And it felt right. You could almost smell the stale beer and cheap perfume. No bullshit. Just rock and roll, the way it should be.
Then they hit you with “Hard to Handle.” Otis Redding. A classic. Most bands, they touch a classic, they turn it to dust. They make it sound like a commercial for toothpaste. These guys? They took it, beat it up, and made it their own. It still had the swagger, the funk, but it was grittier.
Like Otis got drunk and decided to play in a dive bar with a bunch of hell-raisers. The piano was pounding, the drums were loose but tight, and that voice, that goddamn voice. It was alive. It was sweating. It made you want to drink more, or maybe just break something.It had balls. They have balls.
And then, “She Talks to Angels.” I figured, here it comes. The slow one. The sappy one. But it wasn’t. It was different. It had a sadness to it, a weariness. Like a long night that just won’t end, and you’re watching the sun come up on another wasted day. The acoustic guitar, the slide. It was mournful, but not weak. It was the kind of song you listen to when you’re alone, thinking about all the things you fucked up, all the things that got away. It wasn’t trying to be beautiful; it just was. A quiet desperation, a true sound.
It’s not perfect as parts. Nothing is. Bot together? The whole damn thing? It’s a work of fucking genius. A god damn masterpiece. It’s got guts. It’s got dirt. It’s got the kind of sound that reminds you life is messy, and sometimes, that’s exactly what you need. A good record. Yeah. A damn good record. One of the fucking best.
8 whiskeys out of 6.