While I don’t know the backstory behind this version of The Crowes’ seminal 1990 song, it’s still an interesting and worthwhile reinterpretation of the original studio release from 20(!) years ago (has it REALLY been that long already?). I do agree to a point with the first reviewer; the audio quality of this recording is–put politely–challenged, lending a quality more in line with a bootleg…or studio demo. But that’s not really the point; more that this version is a reinterpretation of the more well-known, two decades old version from ‘Shake Your Money Maker’. Whether recorded recently or somewhere along the ‘ride’ between then and now, for the price of entry (free, at the time of this review) this slightly more laid back version extremely hard to knock. No this recording is perhaps not as polished as the original, but the acoustical guitar intro is a nice counter to the electric original, and Chris Robinson’s voice has never been stronger. The only letdown is the quality of the
Is anyone recording on a 24 track Tascam 2488 digital recording Track digital studio?
I'm not stupid but I also don't have a degree in audio engineering. This thing is COMPLICATED!!
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Tags: Acoustical Guitar, Audio Quality, Babs, Backstory, Bootleg, Chris Robinson, Decades, Guitar Intro, Hot Topics, Keyword, Laid Back, Letdown, Money Maker, Old Version, Original Studio, Studio Demo, Track Digital
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April 1st, 2010 at 7:21 am
I have to admit that in my five decades of being an adult I have never been in a smoky bar in Detroit (and in fact, a long time since I have seen a smoky bar anywhere) but I believe The Truth was a bit harsh about this cut. I liked it; it reminded me of some early Rolling Stones, e.g. Beast of Burden (1978), laced with some Eric Clapton, e.g. Cocaine (1977), and one can’t very well argue with those successes.
April 1st, 2010 at 7:50 pm
If this is a preemptive to the rest of the album, then the whole album must suck. This was not a good song. It sounds like they are in the back corner of some smoky bar in Detroit, wrapping up a sleepy night. The nearly non existent crowd sit lazily in their bar chairs, waiting to finish their last drink.
Rhythms were bad, and no cohesiveness to the mixes and runs.