Mainstream Rock: The Black Crowes, “Remedy” (1992)
David Lifton: It’s easy to mock them, but the Crowes were a good gateway drug if you didn’t know their influences. Those first couple of records had some good songs on them, regardless of how derivative they were. They were unabashed music fans, and had really good taste. There’s nothing wrong with that.
Beau Dure: Really a pretty song and not a bad band, even if Chris Robinson always looked like he’d blow away in a mild breeze. And Kate Hudson, for the record, could surely do better. How many years can you really stay in a serious relationship with a dude whose first love is always going to be herbal?
Scott Malchus: Great rock and roll song. Plenty of swagger and southern blues. Talk about a band that had a good thing and imploded. I wish this song got as much airplay as that damn remake of the Otis Redding song, I’m sure the Robinson brothers feel the same way.
David Medsker: When I first heard the riff to this song, I couldn’t believe that it hadn’t been written yet. It just sounded like something knocking around classic rock radio since 1972. I’ve still never heard a Crowes record in its entirety. I don’t hate them or anything. They just don’t excite me.
Will Harris: I listened to this album a thousand times upon its initial release if I listened to it once, thanks to working at a record store at the time, which would probably explain why I’ve still never gotten around to buying it. But that doesn’t explain why I’ve never bought any of their other albums. Listening to “Remedy” now, however, I think I’ve figured it out: I just don’t really like the Black Crowes very much. (more…)
Shalamar began life as a studio project by Soul Train booker Dick Griffrey, but after the success of their first single, “Uptown Festival,” Griffrey had to put some faces with the voices quick. Looking to the Soul Train dancers, he recruited pop/lock empresario Jeffrey Daniels and the runway-ready Jody Watley. They were soon joined by singer Howard Hewett, and Shalamar began a decent run on the American R&B charts. The story was different overseas, where the trio crossed over with regularity on the U.K. pop charts. They’d score a U.S. pop hit here and there, but with the exception of the #8 peaking “The Second Time Around” in 1980, major crossover success eluded them.
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