Reviews

The second album by the newly reformed (and reconfigured) Black Crowes doesn't stay far from the sound fans would expect from the band. Their tenth album overall, it feels somewhat 'safe' in comparison to the 2024 comeback album Happiness Bastards, but it is still brimming with the swagger and charm that brought the band to limelight in the 90s. 'Profound Prophecy', the opener, rips out the speakers with Rich Robinson's signature slide guitar taking the front of the stage. The song powers along nicely, and will be a favourite of fans for years to come. 'Cruel Streak' slows down to a mid-tempo, and although it stars out a little bland, the chorus saves it - a trademark of many a great Crowes track. A short solo from Rich feels like it could have been extended, but otherwise the song morphs into an essential track by its close. 'Pharmacy Chronicles' give the listener the first ballad of the album, and it is great, but nothing new really cuts through here. It's an auto-pilot softie, and slows the album too early. 'Do The Parasite!' slaps you awake, and some southern-style blues rock reminds you why this band was once the bees knees. The organ swells throughout and Rich's licks dominate until that divine chorus hits. 'It's Like that' is almost so paint-by-numbers it is annoying, but it doesn't matter - because it is so damn good, with that exquisite slide guitar again getting a workout. You can't hear the chorus without imagining Chris Robinson doing his Mick Jagger inspired strut, mike stand in hand, pouting a plenty. 'Blood Red Regrets' is a new sound for the band, and sounds like a sermon from the mount, with Chris preaching his lyrics over the most Led Zeppelin sounding riffs you will hear in 2026. It works beautifully, and is a great song to keep the album lifted in the second half where many others slump. 'You Call This A Good Time?' is The Black Crowes circa 1990, but could be an outtake from any of the early albums. It's a great throwback to the band's beginnings. 'Eros Blues' is probably the least interesting song on the album, both in tempo and style, and is the closest any song comes to filler. It does get a bit of punch towards the end, but is still the album's low point. It all finishes up with the dirge-like 'Doomsday Doggerel', a song that feels out of place, but works perfectly as an album closer. Chris snarls the chorus with venom, and this is the furthest the band has ever sounded from their beginnings. It is moody and at times even sparse, and ends the album with a quiet fade rather than the expected explosion. It's a welcome ending and keeps things fresh. It has to be said that it isn't quite as good as the previous album, but it certainly still stands on its own. Some of it has the feeling of being rehashed, but only enough that the songs sound familiar. It isn't a bad thing, as it helps the album sink in fast, and once it does that feeling certainly disappears. Rich's solos seem somewhat restrained throughout, and in many songs it feels like he is just about to break free - but then doesn't. Often when bands 'reform' they burst out the gate with that one good album then fade away quickly as the excitement dissipates. The great thing about album number 2 from The Black Crowes 2.0 certainly gives hope that these guys will still be around for a long time to come.