One of my all-time fave rock and roll bands is back! The Black Crowes, the band behind the hits “She Talks to Angels,” “Remedy,” “A Conspiracy,” and that excellent cover of “Hard To Handle,” have returned. The fighting Robinson brothers – Chris and Rich – have buried the hatchet and have been on good terms for some time now (pre-dating the reunion of that other sibling rock band Oasis) and again dishing out rock and roll like only they know how. Now comes new music with the release of "Profane Prophecy” and “Pharmacy Chronicles.” Both singles are a preview of their upcoming album titled “Pound Of Feathers,” which is slated for March 2026, coming just in time for my birth month, how nice!

So why care about this American band? Well, The Black Crowes have been an influential band for Pinoy rock groups. While the likes of Nirvana, Soundgarden, and Pearl Jam were blowing up in the 90s, the Crowes dominated their own scene with their brand of rock: imbued with blues, gospel, psychedelia, Americana, jam rock, and all that good stuff. While Pinoy bands went gaga over alternative rock, there was a healthy side of the rock scene that embraced the Black Crowes' sound. Bands like Anibughaw, Piranha, and even Razorback come to mind. Even Kjwan frontman Marc Abaya is big on the Black Crowes, which I found out on one unexpected jam night many years later. This was back in 2016, actually (and that would be my one and only entry for this ongoing 2016 trend). Anyway, Marc’s face lit up when I played the riff to “High Head Blues” when we were having ‘cigarettes and alcohol’ at a friend’s house, but I digress. Even latter-day band Hey Moonshine counts this American band among its main influences.

But 90s blues-rockers Anibughaw (those weaned on L.A. Rock would remember them) took it further and are practically disciples, whose own sound can be traced to the Crowes. Anibughaw released their self-titled debut album (under the Tone Def label) back in 1996, and I was impressed upon hearing them on record. Incidentally, Anibughaw vocalist Sael Agag has likewise re-emerged with new music titled “Home2me” from his namesake band. Taking a break from his visual artist duties, Sael drops this tuneful blast from the past: a power ballad-sounding number plucked from the hair-metal era. And like any acoustic guitar-driven ballad from those good ‘ol days “Home2me” is flavored with some tasty guitar fills that weave in and out of Sael’s compelling vocals and even comes complete with a proper guitar solo, which today sounds like an indulgence rather than the norm. Regardless, Sael’s singing retains its bluesy influences with some well-earned raggedness.

Back to the Black Crowes, fans won’t be dismayed if they came for the blues-drenched, Rolling Stone-esque rhythm guitar work that came to define the Crowes’ sound. Rich Robinson seems to channel Keef Richards at the onset of “Profane Prophecy” but reverts quickly to his slippery and robust guitar sound that’s become all his own. Chris Robinson, ever the flamboyant frontman, is at his boss-level vocalist phase; spot-on raspy technique and all, wrapped in soul.

“Pharmacy Chronicles,” with its jangly acoustic rhythms, punctuated with a lifting wurlitzer organ and piano (that recalls the work of late Crowe keyboardist Eddie Harsch) aims to lift the listener out of the doldrums and into jam band heaven as Rich’s slide guitar solo at the outro summons “Layla” vibes, with brother Chris Robinson’s vocals plays perfect counterpoint in soul. Like what Eric Clapton was to Duane Allman’s.

It’s that good, man.