Those Damn Crows are often compared to Black Stone Cherry, but as you’ll see, I have a different perspective. The band from Bridgend, Wales, is making waves in the industry, particularly in America, where they’ve shared the stage with Queens of the Stone Age and Hollywood Vampires. Their sound has evolved significantly, influenced by these experiences, and their performances have become more polished. You might not have been familiar with this Welsh outfit until now, but this is actually their fifth album. The record delves into the personal journey that frontman Shane Greenhall has been on over the past year, a journey that has undoubtedly shaped their music.
Shane touches on searching for something that cannot be touched on tracks like ‘The Night Train’ and ‘I’ve Always been Unstable’. He is also apologetic on ‘Glass Heart’, which resembles power rock from the 80s. ‘Dancing with the Enemy’ is the opener and is reminiscent of Alice in Chain’s ‘Man in the Box’ during the chorus. The song itself is quite political and suggests we deserve to know the truth. Many songs ask questions about the world over: Biffy Clyro, Enter Shikari, and Bring Me the Horizon-style music.
Only a few songs had that classic Black Stone Cherry mark in ‘Dreaming’ and the closer ‘Still’. I failed to see the blues connection anywhere else on the album. ‘Let’s Go Psycho!’ features rapid guitar shredding with rapping, a bold departure from the band’s usual style. ‘No Surrender’ introduces driving drums, adding a new dynamic to their sound. ‘Turn it Around’ delves into the metal genre, and ‘Spit & Choke’ features fast bass playing over Queens of the Stone Age-esque music, showcasing the band’s versatility and ability to experiment with different styles.
While the band is primarily associated with commercial metal, they show a promising potential to explore other genres. Their track ‘Still’ is a testament to this, resembling the tender acoustic style of Black Stone Cherry. As a recent listener, I’m excited to see what the future holds for this band after their first commercially successful album.
Song recommendations: ‘Dancing with the Enemy’, ‘Let’s Go Psycho!’, ‘Dreaming’
Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.
As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.
As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.
When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:
Disc One/Side A
The Rose of Laura Nyro:
What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.
Little Richard’s Bible:
A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.
Swing for the Fences:
From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.
Never too Late:
As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.
You Without Me:
It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.
Disc Two/Side B
Who Believes in Angels?
Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.
The River Man:
Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.
A Little Light:
Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.
Someone to Belong To:
The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’
When This Old World is Done with Me:
A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.
Overall:
I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.
Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’
Mumford & Sons. The name alone has me picturing folk and Americana and the familiarity of the banjo. It took me a while to come around to their music. I didn’t dislike them; I found “Sigh No More” ideal as background music. But they never quite captured my full attention, remaining a band I politely tolerated rather than passionately embraced.
However, over time, their music began to seep into my consciousness, altering my perception and kindling a newfound appreciation.
It was 2015, and I was settling in to watch “Later…with Jools Holland,” expecting the usual mix of established acts and rising indie darlings. When Mumford & Sons performed, I expected to hear the usual. I was utterly taken aback by what I heard.
What followed was a sonic jolt. The band launched into “The Wolf,” a track that shed the banjos and acoustic guitars in favour of distorted electric guitars, driving drums, and a raw, almost primal energy. That folk element everyone had been accustomed to was replaced by a full-blown rock attitude. I was completely taken aback. This was the side of the band I had yet to have heard.
It was a revelation. The track was powerful. Signalling a significant shift in the band’s sound. It was a risk that paid off. After that appearance on Later, I decided to give the band a proper chance, diving deeper into “Wilder Mind” and re-evaluating their entire discography. I particularly enjoy watching/listening to their live shows.
Now, let’s delve into some background on this West London ensemble. Mumford & Sons, formed in 2007, comprising of members Marcus Mumford (vocals, guitar, drums, mandolin), Ben Lovett (vocals, keyboards, accordion, drums), Winston Marshall (vocals, banjo, guitar, dobro. Winston left the band in 2021), and Ted Dwane (vocals, bass guitar, double bass, drums, guitar). They quickly and impressively rose to prominence with their distinctive blend of folk, Americana, rock, and bluegrass, characterised by their soaring vocals, intricate instrumentation, and introspective lyrics. Their early albums, including “Sigh No More” and “Babel,” were massive commercial successes, cementing their place as one of the most popular bands of the decade.
However, with “Wilder Mind,” they consciously moved away from their signature sound, embracing a more electric and expansive sonic palette. While the change would inevitably divide fans, it opened them up to a broader audience and allowed them to explore new creative avenues.
What followed was the 2018 album, “Delta”. Another record showing their ambition and their willingness to experiment with various sounds, and connect with a global audience. Their collaboration with African musicians such as Baaba Maal seemed to have inspired this direction, making their music resonate with a wider, global audience. It may not have sounded like their first two albums, but it proved that they could push the creative boundaries. Now we are up-to-date on what the band released and Winston Marshall’s departure amid controversy in 2021; we will crack on with the review “Rushmere”—their first record in a staggering seven years.
Why “Rushmere”? The title carries a double meaning. Rushmere, a lake in Wimbledon, South-West London, is where the band formed, and this record is a return to their roots. The album, therefore, is reflective. Recorded in RCA Studio A, Nashville, and their home studio in Devon, this period from 2022 to 2024 was their most productive. Interestingly, frontman Marcus Mumford released a solo album the same year the band returned to the studio. This decision might have been influenced by a conversation with Noel Gallagher in a London pub, where he challenged Marcus to fully utilise his songwriting talent, both as a solo artist and with the band.
As usual, the songs ease your soul and are just the tonic when you feel the world’s weight on your shoulders. The album itself has a confessional lyricism and offers hope as the record goes on. So stick with it, even though the beginning is downcast.
Despite the melancholic verses, the opener ‘Malibu’, also their latest single, starts with that unmistakable rousing chorus.
It’s intriguing that others, rather than just the band, wrote a few songs. Adele and Liam Gallagher songwriter Greg Kurstin is one of them. He writes the title track and sends it in a Fleetwood Mac direction. The band’s adaptation of Fleetwood Mac on ‘Caroline’ is a fascinating development, suggesting a new direction for their music. More than likely drawing inspiration from Greg’s song. Returning to the title track, it was the teaser and leading single. It is a song that is the quintessential folk side of the band enveloped with Fleetwood Mac. ‘Monochrome’ is a romantic ballad that somewhat lightens the mood.
’Truth’ is when the mood shifts, with Marcus radiating confidence over the track. However, this confidence is short-lived, as we soon arrive at the fittingly titled ’ Surrender’. While I believe this is the piano ballad, it’s been a few days since I last heard it, so my memory might not be entirely accurate. In the early section of the song, you can hear his vocals breaking, a clear sign of the emotional depth he’s delving into. Marcus’s performance is a masterclass in emotional expression as he transitions from powerful vocals to tender ones, reflecting a profound ache and a heart struggling to heal.
As I mentioned earlier, the album is reflective, and the lyricism mirrors that. You believe every heart-shredding vocal that Marcus delivers. It’s the same as when he delivers vocals displaying optimism. While the band has always been known for their jovial and forthright songs, this album marks a significant evolution, showcasing a level of maturity we haven’t seen before. The record harks back to the heady days, a nostalgic treat for those who appreciate it. As for me, I’m still processing my feelings about it. However, I can’t help but admire the depth of the lyricism. The album’s conclusion with ‘Carry on’, a song brimming with hope, is a fitting end.
Song recommedations: ’Carry on’, ’Truth’, ‘Malibu’
Honest Opinions 