The Hippie Shake Revised

When pal George Sluppick invited me to see his new band the other night, I jumped. Having been a Black Crowes fan in the past, I was very interested to see what one of my favorite contemporary (blues) drummers was going to add to The Chris Robinson Brotherhood.

Sluppick has been one of my favorite drummers to follow over the last decade or so, and watch his presence, or lack thereof, completely change the projects in which he's participated (i.e. Robert Walter's 20th Congress, Mofro; both of which fail to move me without him). Of course, the drums are fundamental and this could be expected, but I venture to say that George contributes far more than just a solid backbone. In his meticulous rock steady, there's a patina that many his age have yet to acquire. He brings a seriously old soul with adolescent energy, and an intuition for swing and subtlety that can only come from experience with the dirty.

So to Chris Robinson's new project, this beat comes, and it makes perfect sense. While it's relatively early in the tour, the chemistry is definitely honing along at a steady clip. Keyboard player and moog lover, Adam MacDougall (Black Crowes) and bassist, Mark "Muddy Stardust" Dutton fall in on Sluppick's framework with flourish and ease alike. While perhaps a bit gratuitous with the spacey swoops, the moog was well utilized; I want to say I heard a lot of doubling with the bass, which is a big fave of mine. Not sure if I'm projecting, though.

And along with this solid rhythm section, we get a super delightful surprise: this "Muddy" Dutton has an amazing vocal reach. I found his top parts of the vocal harmonies to be the perfect finish, adding some slicker rock and roll to the mix. It was surprising, but made perfect sense, to find out that Dutton has been associated with both LA Guns and Dwight Yoakam.

Overall the band reeks of bearded, laid back aesthetic, as well as the crowd at Cafe Du Nord that night. Lovers of the Dead, the Band, Neil Young, and dare I say a sprinkle of Steely Dan (I swear I heard "Reeling in the Years" somewhere in there), will enjoy a bit of departure into the likes of the Headhunters. My love for the low end left me a little disappointed with the guitar tones, but upon more objective thought I suppose they were an appropriate complement for the rhythm section. Drums, keys and bass effectively stole the show for me, and the vocal harmonies were an unexpected bonus. I recall a chorus of "be well, take care" that haunts me still. The details on the rest trail away....