The Black Crowes: Chris Robinson (vocals, harmonica); Rich Robinson, Marc Ford (guitar); Eddie Harsch (keyboards); Johnny Colt (bass); Steve Gorman (drums).

Additional personnel: Bruce Kaphan (pedal steel); Jimmy "Two Fingers" Ashurst (mandolin); Eric BoBo (percussion); Andy Sturmer.

Recorded at Sound City, Van Nuys & Conway Studios, Los Angeles, California from May to June 1994.

Black Crowes: Chris Robinson (vocals, harmonica); Rich Robinson, Marc Ford (guitar); Eddie Harsch (keyboards); Johnny Colt (bass); Steve Gorman (drums).

Additional personnel: Bruce Kaphan (pedal steel guitar); Jimmy "Two Fingers" Ashurst (mandolin); Eric BoBo (percussion); Andy Sturmer.

The alternate version of AMORICA features a slightly different cover.

The Black Crowes: Chris Robinson (vocals, harmonica); Rich Robinson, Marc Ford (guitar); Eddie Harsch (keyboards); Johnny Colt (bass); Steve Gorman (drums).

Additional personnel includes: Bruce Kaphan (pedal steel guitar); Jimmy "Two Fingers" Ashurst (mandolin); Eric BoBo (percussion).

Recorded between May and June 1994.

All tracks have been digitally remastered.

The Black Crowes: Chris Robinson (vocals, harmonica); Marc Ford , Rich Robinson (guitar); Eddie Harsch (keyboards); Johnny Colt (bass guitar); Steve German (drums).

Additional personnel: Andy Sturmer (various instruments); Bruce Kaphan (pedal steel guitar); Jimmy Ashurst (mandolin); Eric Bobo (percussion).

On Amorica, the Black Crowes finally come into their own, taking their cue from the most relaxed, groove-oriented tracks on their previous album. While the album contains no immediately obvious singles, the songs are the best the band has ever written, stretching out into a hard, jam-oriented, funky blues-rock. The Black Crowes' influences are still discernible -- no band celebrates the glory days of rock culture quite as enthusiastically -- but they use the music of the Stones, the Faces, and Little Feat much the same way the Stones used the music of Chuck Berry: it's a starting point that leads the band into a new direction, incorporating different musical genres, and making the music original. That sense of reinterpretation is what keeps Amorica fresh. ~ Stephen Thomas Erlewine

With their roots firmly planted in the alluvial top soil of '70s blues rock, The Black Crowes are truly enjoying their exile on main street. Because when all is said and done, The Black Crowes are a classic hard rock riff band, where the groove--the weaving of electric guitars/keyboards, with bass-drum dances--is paramount, much as it was for their mentors, Little Feat, The Faces and The Rolling Stones.

On AMORICA, The Black Crowes stretch out their throbbing grooves and dense retro mixes with taut, wiry bursts of electric guitar courtesy of Rich Robinson and Marc Ford, over a bumptious latin-inflected rock groove, as on "Gone." Eddie Harsch's rich Hammond B-3 and funky keyboard work adds body to each arrangement, while leather lunged Chris Robinson's vocals are less melodic focus than an extension on the blues riffing going on underneath. He's a soul shouter in the best tradition of Gregg Allman, Stevie Winwood and Rod Stewart--of white rock singers influenced by the likes of Otis Redding and Ray Charles--as on "High Head Blues."

At their best, as on the southern flavored jams of "Wiser Time," and the funky lascivious "She Gave Good Sunflower," the band evokes a powerful roots rock feel, with plenty of solo space for the guitars to stretch out. But on more laid back fare, such as the down home "Downtown Money" and the poignant "Ballad In Urgency," The Black Crowe's lyrics convey an enigmatic brand of romanticism that is more song-like than many of their arrangements.

With their roots firmly planted in the alluvial top soil of '70s blues rock, The Black Crowes are a classic hard rock riff band, where the groove--their weaving of electric guitars/keyboards, with bass-drum dances--is paramount, much as it was for their mentors, Little Feat, The Faces and The Rolling Stones.

On AMORICA The Black Crowes stretch out their throbbing grooves and dense retro mixes with taut, wiry bursts of guitar courtesy of Rich Robinson and Marc Ford, over a bumptious latin-inflected rock groove, as on "Gene." Eddie Harsch's rich Hammond B-3 and funky keyboard work adds body to each arrangement, while leather lunged Chris Robinson's vocals are less a melodic focus than an extension on the blues riffing going on underneath. He's a soul shouter in the best tradition of Gregg Allman, Stevie Winwood and Rod Stewart--of white rock singers influenced by the likes of Otis Redding and Ray Charles--as on "High Head Blues."

At their best, as on the southern flavored jams of "Wiser Time," and the funky, lascivious "She Gave Good Sunflower," the band evokes a powerful roots rock feel, with plenty of solo space for the guitars to stretch out. But on more laid back fare, such as the down home "Downtown Money" and the poignant "Ballad In Urgency," The Black Crowes' lyrics convey an enigmatic brand of romanticism that is more song-like than many of their arrangements.