Johnny Colt Reflects on the Turbulent Journey of the Black Crowes’ Amorica
“its absolute nonsense,” declared Johnny Colt, the former bassist of the often-criticized Black Crowes, in the March 2005 edition of Bass player. “Just take a look at any magazine rack, even in the so-called ‘bible Belt,’ and you’ll find a plethora of content. What about the Ohio Players’ albums? What about the cover of Fire?”
Colt was addressing the controversy surrounding the release of the band’s third album, Amorica, which faced backlash due to its provocative cover art featuring a close-up of a woman in a stars and stripes bikini.
Too provocative for comfort? Rolling Stone certainly thought so, refusing to run an advertisement for the album. Major retailers like K-Mart, Target, and Wal-Mart also opted not to carry the record.
In an effort to avoid alienating their fanbase, particularly in more conservative regions, the Crowes reluctantly agreed to a revised cover, though it left the band feeling uneasy.
The Crowes: Misunderstood Rock Icons
Before the emergence of Stone Temple Pilots in 1992,the Black Crowes were frequently derided by the rock media for their retro sound and aesthetic,reminiscent of the Faces and the Rolling Stones. They were frequently enough criticized for their outspoken views on marijuana legalization and their hedonistic lifestyle, which led to conflicts within the band.
Despite the turmoil, their first two albums, Shake Your Money Maker and The Southern harmony and Musical Companion, achieved remarkable success, selling over 10 million copies globally.
Amorica marked a bold evolution in their sound, blending blues, rock, soul, and gospel influences. Colt’s bass work on the album was particularly noteworthy, showcasing a powerful and dynamic approach.Tracks like Nonfiction,high Head Blues,She Gave Good Sunflower,and A Conspiracy highlighted his innovative basslines,which added depth and energy to the music.
“I dedicated notable time to honing my craft outside of the band, and I believe my playing improved tremendously. The key was learning to listen.No exaggeration – Amorica is the real deal,” Colt stated.
Creative Chaos: The Making of Amorica
However, the creation of Amorica was fraught with challenges. Tensions between lead singer Chris Robinson and his brother, rhythm guitarist Rich, were well-documented, and their frequent disagreements contributed to the album’s tumultuous production. The band also parted ways with producer George Drakoulias, who had been instrumental in their earlier successes.
Faced with mounting issues, the band scrapped the initial 17 songs they had recorded.Seeking a fresh viewpoint, they brought in producer Jack joseph Puig, known for his work with Jellyfish.
“we had always been so hit-and-run in the studio that it felt strange to spend so much time on a record, but that’s frequently enough necessary when you’re trying to explore new territory,” Colt reflected.
Ultimately, Colt described the process as “business as usual,” humorously noting his credit on the Amorica sleeve for “bass fishing.” “Bass fishing! Honestly, I’d prefer to fish for trout,” he joked.
From Quick Sessions to Extended Creativity
While Southern Harmony was recorded in just six days, Amorica took six months. “The biggest hurdle was figuring out our direction and learning to give each other space to grow as musicians. Capturing the right magic is tough when everyone is coming from different places. But you don’t create a record like Amorica without some struggle. If you push, it will push back,” Colt explained.
Reflecting on the band’s evolution, Colt noted, “We toured extensively after our first album, and by the time we finished Southern Harmony, we had changed significantly. We went from being 21 to 26 in what felt like an instant.We needed time apart, but when we reunited, it felt awkward. It was like, ‘What happened? We were in sync just a few months ago!’”
The Role of Turmoil in creativity
“Struggle is an inherent part of the creative process,” Colt asserted. “The conflicts may escalate, but they also drive us to push harder. I don’t know many artists who create grate work without some underlying turmoil. That has always been part of our journey.”
Shifting Producers: A New Direction
After completing Southern Harmony, it became clear that the band’s relationship with Drakoulias had run its course.”He was very close to us, and I think he felt overwhelmed by the task ahead,” Colt noted.
Initially brought on as an engineer, Puig quickly proved himself capable of guiding the band through their creative chaos. “With the Crowes, you better be ready to step up or you’ll get torn apart. After working with him,we felt he could help us realize our vision,” Colt shared.
Creating a Supportive Environment
Under Puig’s guidance, the band experimented with new techniques and approaches. “He respected us as musicians and was open to listening. He fostered an environment where we could strive to be better than ever,” Colt explained.
“It’s amusing because every studio we work in starts to look the same. We bring our rugs and posters of legends like Coltrane. We even have Johnny Wong’s Tiki Hut, a fully stocked bar for the band and crew! With some Bob Marley playing in the background, we were ready to create,” he added.
Finding the Groove
Colt acknowledged a noticeable evolution in his playing style on Amorica. “On Shake your Money Maker,my parts were straightforward as George wouldn’t let me explore.I had limited time to record my parts for 15 songs, and the expectation was to just get it done,” he recalled.
“Now, I know when I’ve hit a good bassline. It resonates and captures the right notes. The key is to be unafraid to explore,” Colt said. “Sometimes I might get a look from the band, but I trust my instincts. If I come back empty-handed, that’s a different story.”
“I’ve learned to appreciate space in music. it’s when everything starts to sound cohesive and the groove expands,” he added.
Balancing Art and Commerce
Colt admitted to initial fears that their debut album had sold too well, as he wanted to ensure the band continued to evolve artistically. ”I don’t believe musicians who claim they don’t care about sales. if you’re not in it for the business,what’s the point?”
“The upside of selling 10 million records? I get to indulge in some amazing bass guitars!” he concluded.
