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HangupsMusic.com – Bethlehem, PA, In the vibrant, often chaotic world of rock and roll, the path to stardom is rarely straightforward, frequently fraught with unforeseen twists, humorous miscommunications, and legendary encounters. Such was the case in 1990 when two burgeoning acts, The Black Crowes and McAuley Schenker Group (MSG), found themselves in an unexpected tangle over a coveted opening slot for rock giants Aerosmith. The ensuing drama, recounted by The Black Crowes’ own Rich and Chris Robinson, offers a fascinating glimpse into the cutthroat nature of the music industry and the surreal experiences that define a band’s early journey.
The year 1990 marked a pivotal moment in rock history. Aerosmith, having staged one of the most remarkable comebacks in music, was riding high on the colossal success of their album Pump. Released in late 1989, Pump solidified their renewed status as arena-filling legends, spawning hits like "Love in an Elevator," "Janie’s Got a Gun," and "What It Takes." The accompanying tour was a massive undertaking, a testament to their enduring appeal and a beacon of opportunity for any band hoping to make their mark. Opening for Aerosmith on a tour of this magnitude was not just a gig; it was a launching pad, a chance to perform nightly before tens of thousands of dedicated rock fans, an unparalleled exposure that could transform a promising act into a household name.
Meanwhile, The Black Crowes, a band with a distinct, soulful blues-rock sound that stood in stark contrast to the prevailing hair metal scene, were rapidly gaining traction. Their debut album, Shake Your Money Maker, had just hit shelves, and while the album itself was a slow burn, its raw energy and undeniable swagger were quickly captivating audiences. Their debut single, "Jealous Again," was generating buzz, hinting at the massive success that would soon follow with hits like "Hard to Handle." At this nascent stage of their career, The Black Crowes were touring alongside McAuley Schenker Group, a hard rock outfit featuring the legendary German guitarist Michael Schenker, known for his work with UFO and Scorpions. MSG, with their established pedigree and loyal following, represented a different generation of hard rock, making the subsequent mix-up even more pronounced.
The call came from Aerosmith’s camp: they were looking for a support act for the summer leg of the Pump Tour. For any band, this was the equivalent of winning the lottery. The Black Crowes’ manager delivered the exciting news to Rich Robinson, informing them that Aerosmith’s representatives were on their way to present the tour offer. However, a significant communication breakdown occurred, creating a truly awkward situation. As Rich Robinson vividly recalls, "We were playing in Boston and our manager was like, ‘They’re coming down to give you the Aerosmith tour.’ But for some reason [McAuley Schenker Group] thought Aerosmith was coming down to offer it to them." This misunderstanding set the stage for a memorable, albeit uncomfortable, confrontation between the two bands sharing a bill.
The tension escalated when the representatives arrived. Chris Robinson paints a colorful picture of the scene, detailing the dismissive attitude from the more experienced MSG musicians. "They were like, ‘Nice to meet you kids, but we’re going on the Aerosmith tour,’ " Chris recounts, mimicking their condescending tone. "They were like, ‘You guys don’t really know what you’re doing and we’ve been doing this for quite a while, so enjoy your careers.’ " This exchange perfectly encapsulated the dynamic between the two groups: the seasoned veterans, perhaps feeling entitled to the prime opportunity, and the young, hungry upstarts. The Black Crowes, however, were not to be easily intimidated. Their swift and defiant retort – "We were like, ‘Enjoy your time off!’" – underscored their burgeoning confidence and the raw, unpolished edge that would soon define their public persona. It was a moment of triumph for The Black Crowes, a clear signal that their time had come, even if it meant a brief, uncomfortable encounter with their tour mates.
With the coveted slot secured, The Black Crowes embarked on what would become a defining chapter in their career. Their first show opening for Aerosmith took place at the Stabler Arena in Bethlehem, Pennsylvania. The transition from smaller venues to massive arenas and baseball parks was a monumental leap, but the young band was ready to embrace the challenge. However, the true "welcome to the big leagues" moment came not from their performance, but from an unbelievable incident involving one of rock’s most iconic figures.
On that inaugural night, as the energy crackled backstage, an almost unbelievable scene unfolded. Joe Perry, Aerosmith’s legendary "Axeman," the quintessential rock star, found himself in a peculiar predicament. Dressed in his signature leather pants, shirtless, and with a guitar slung over his shoulder – the very embodiment of a rock god – Perry was barred from entering the venue. The reason? He lacked the proper backstage laminate. Chris Robinson’s incredulous description of the event perfectly captures the absurdity: "He’s there in leather pants, no shirt, and like a guitar, and they’re like, ‘You can’t come in, sir.’ It’s fucking Joe Perry!" Robinson further elaborates, "He is like Joe Perry who ate an avatar of Joe Perry. That guy is only supposed to be reclining on a velvet cushion backstage." The image of a security guard, oblivious or perhaps simply adhering strictly to protocol, denying entry to one of the headliners, highlights the often-surreal disconnect between the myth of rock stardom and the mundane realities of tour logistics. It was a stark, humorous reminder that even the biggest legends are not immune to bureaucratic hurdles, and it provided The Black Crowes with an instant, unforgettable anecdote about their new tour mates.
The Aerosmith tour proved to be an invaluable experience for The Black Crowes. Night after night, they honed their craft in front of colossal audiences, absorbing the energy of the crowd and the sheer spectacle of an Aerosmith production. While the exposure was immeasurable, the financial compensation for a support act, particularly one still finding its feet, was notably modest. The Robinson brothers candidly revealed during a recent interview that their payment for those high-profile Aerosmith gigs amounted to a mere $350 a night. For a band on the cusp of breaking big, this sum underscored the grind and sacrifice inherent in climbing the ladder of rock success, where the currency of experience and exposure often far outweighs immediate monetary gain.
This period was foundational for The Black Crowes, solidifying their stage presence and introducing their distinctive sound to a massive audience, paving the way for Shake Your Money Maker to achieve multi-platinum status. The tour provided them with invaluable insights into the workings of a major rock production and perhaps, a lesson in humility and persistence.
Fast forward to the present, The Black Crowes continue to evolve, demonstrating their enduring relevance in the modern music landscape. The band recently unveiled their latest album, A Pound of Feathers, which dropped on Friday, offering fans a fresh collection of their signature blues-infused rock. In support of the new release, the Robinson brothers joined Rolling Stone’s Nashville Now podcast, diving into a wide array of topics. Beyond reminiscing about their early days and the legendary Aerosmith tour, they delved into the creative process behind A Pound of Feathers, discussing the unique experience of recording the LP in Nashville.
The interview also touched upon more contemporary and pressing issues facing the music industry, notably The Black Crowes’ strong, unequivocal feelings regarding the burgeoning role of artificial intelligence in songwriting. Their candid views on AI’s impact reflect a broader conversation within the artistic community about authenticity, creativity, and the human element in music creation. This thoughtful discussion provides a fascinating contrast to the raw, unscripted moments of their early career, highlighting their continued engagement with the craft and the industry.
For those eager to delve deeper into the insights shared by Rich and Chris Robinson, the full episode of Rolling Stone’s Nashville Now podcast offers an in-depth exploration of their journey, their new music, and their perspectives on the future of rock and roll. Hosted by senior music editor Joseph Hudak, Nashville Now provides a weekly dose of country music news, interviews, and must-hear songs, extending its reach to cover pivotal figures across the broader musical spectrum. Listeners can download and subscribe to the podcast on Apple Podcasts, Spotify, or wherever they access their favorite audio content. New episodes, featuring interviews with a diverse array of artists and personalities including Lainey Wilson, Hardy, Charley Crockett, Kings of Leon, Carly Pearce, Breland, and many others, are released every Wednesday, offering a rich tapestry of conversations from the heart of the music world. The Black Crowes’ story, from a confusing tour offer to sharing stages with icons, underscores the unpredictable, thrilling, and often hilarious journey that defines a life in rock and roll.