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.