The Black Crowes’ guitarist Rich Robinson has a pure and simple approach to playing classic rock ’n’ roll. As he says, “Less can be more.” But not when it comes to collecting vintage gear…
If Guns N’ Roses were the natural successors to Aerosmith in the late ’80s, then The Black Crowes were there to y the ag for the rootsy rock pioneered by The Rolling Stones. Led by singer Chris Robinson and his brother Rich on guitar, the Atlanta group signed to Def American in 1989 and released their debut album Shake ourMoneyMakerthe following year to wide critical acclaim –cementing their stature as one of the most vital new forces in rock at the time.
But nothing lasts forever. As well as a brief hiatus in the early noughties, the band broke up in 2015 following a disagreement between the two siblings, and four years would pass until they were able to put their di erences aside to commemorate the 30th anniversary of the album that launched their careers.
This year they return with their tenth full-length Happiness Bastards –a tour de force of Southern-voiced rock ’n’ roll, tastefully and eloquently cross-pollinating bluesy minor pentatonics with country majors as they so often have done in the past. When TG tells Rich Robinson the tones on the latest release are possibly the nest he’s ever put to tape, he’s more than ready to spill the beans. Let’s geek out,” he nods. That’s what us guitar players do, right?”
The timing, by the band’s own admission, could have been better. They were all geared up and ready to celebrate the album that launched their careers when the pandemic put paid to much of the anniversary tour. Keen to make up for lost time, however, the brothers decided to commence writing for their rst album of original material in 15 years –the ideas starting with Rich and then being sent over to Chris, who would use a neighbour’s studio to overlay his vocals and send the demos back. By the time they were recording the nal versions, creativity was in full ow, and once again it was vintage gear helping them conjure up authentic sounds of the past…
A couple of years ago I wanted an old Marshall Bluesbreaker, which can be hard to nd,” reveals Rich. Suddenly a 1966 model appeared in Nashville and I had to buy it. I brought it to rehearsals and knew it was ama ing. Being a typical guitarist, Iknew I’d need another one in case it blew! So I found a ’68 in Seattle, which is one of the best amps I’ve ever heard. I realised that I wanted a spare ’68! So I had a guy duplicate it, in every possible way.”
The like-for-like clone led to the launch of the guitarist’s own company, Muswell Ampli cation, named after The Kinks’ 1971 album MuswellHillbillies. o
