Polydor [Release date 10.07.26]

I know, I know, I cant give six stars. Well in that case this definitely gets a big cheeky bombastic five.

Kicking off with Rough And Twisted the B side of the first single In The Stars, both of which I reviewed as singles. I said this track was the best thing I’ve heard since Start Me Up, which opened side one of Tattoo You. It’s raw, it’s savage, it’s all over you before you’ve got time to think. It’s like a declaration of intent. Next up is in fact In The Stars, which I likened to Saint Of Me, my favourite track on Bridges To Babylon, and delivering the video where the Stones are morphed back to the early seventies, when their swagger and style were as important as their music. Ronnie wasn’t even with them then, but who cares, it was a fun video.

Next up Jealous Lover, which could have easily been on side two of Tattoo You with Mick’s falsetto voice, and piano led instrumentation, courtesy of Steve Winwood.

Mr Charm charms us next , which Jagger enjoyed singing the refrain Call me Mr Charm Mr Charm Mr Charm so much he could have carried on singing it infinitum, so he said in a recent interview. Its instantly likeable, with a Keith opening riff and the verses are not unlike Shattered from Some Girls. This is what us incorrigible Stones obsessives like – more of the same from their platinum age of ’68 – ’72 and their golden age from 73 – 81. Their albums post this time weren’t bad, but they weren’t great. And people were raving about Hackney Diamonds saying it’s the best since Exile On Main Street, (mostly people who weren’t even alive when that album was released) but I wasn’t over impressed, I thought it was ok but did the world need another Stones album. Now see it as an aperitif for this possible swansong, and certain contender for a masterpiece. Now I can say yes the world did need another Stones album – this one.

I know there are only three of them left, and only two absolute originals but they sound so animated, so rejuvenated, so inspired, so…….Rolling Stones. Charlie Watts once said if there was only Mick And Keith left it would still be the Rolling Stones. Very prophetic words Charlie. And talking of Charlie, he pops up on this album again, as he did on Hackney Diamonds. This time on Hit Me In The Head, which contains the ironic line “One of these days gonna fall down dead” He’s gone but certainly not forgotten. But I must say Steve Jordan slips into those massive shoes, so easily, without a shoehorn. Remarkable. He was the guy Charlie recommended take his place. Of course he played with Keith in The Expensive Winos, and I must just mention, that I think the fact that Steve, and Benmont Tench, who was also in the Winos, both play on this album, is certain testament to the fact that Mick and Keith have finally buried the hatchet for good. Mick would have never allowed two Keith musicians to enter the Stones camp whilst their animosities were in full swing. So good on you boys. It’s good to forgive and forget.

So that jumped ahead four tracks but I got side tracked by Charlie Watts. So immediately after Mr Charm is Divine Intervention which was the B side of Jealous Lover, and in that review I said it started off with a great rockabilly type vibe and ended up building and building and introducing a brass section which reminded me of All Down The Line on Exile. This is followed by a very overdue country ballad, Ringing Hollow, the likes of which we haven’t heard since Some Girls and Faraway Eyes. Every time they released a new album from the 90’s onward, I would say to my wife why can’t they just go back to writing blues and country, which they do so well, instead of the corporate rock they churned out. It’s such a great feeling of satisfaction, which I couldn’t get before, to have these blues and country based tunes once again.

Never Want To Lose You is a straight up rocker, featuring Steve Winwood on piano again, and Robert Smith of the Cure on synthesizer and BV’s. For anybody who doesn’t know, Steve Winwood was the vocalist and keyboard player in Traffic for many years, and made an album with Eric Clapton and Ginger Baker as Blind Faith, which was produced by Jimmy Miller as was Traffic, who then went on to produce The Stones between 68 and 73. Blind Faith also gave Mick Jagger the inspiration for playing Hyde Park in 69 which debuted Mick Taylor, after he saw them performing in Hyde Park a few weeks earlier. So a long history there, and his contributions are sublime and succinct.

After Hit Me In The Head is the Amy Winehouse song You Know I’m No Good, which is the weakest point of the album for me. Don’t get me wrong it is an amazing song, but I don’t really get why they covered this one when Amy left us with the go to version. They play it well, with Jagger using his blues harp in place of the brass, but surely Jagger can’t be trying to reinforce his bad boy image at eighty three.

Keith follows on with his obligatory track going right back to You Got The Silver on Let It Bleed, and even a shared vocal on Salt Of The Earth on Beggars banquet and Something Happened to Me Yesterday on Between The Buttons. They are always welcoming and some are way off kilter like All About You, where he declares “I’m so sick and tired of hanging around with dogs like you” making people wonder who he was talking about. This one is called Some Of Us, and is really uplifting particularly in the chorus, which Jagger joins in with at the end of the song. He really sounds like he having fun. But it’s still indelibly Keith. All we need is a little loving indeed Keith.

Covered In You catches you off guard, it starts like a ballad, then suddenly kicks into a funky rocker, with some fantastic weaving between the guitars. I’ve seen some reviews saying this is Jagger attempting to rap, but I don’t think it is, the verses are just clever wordplay without a melody, but not rapping. The chorus is another ear worm, which Jagger is so good at. Paul McCartney adds some strong economical bass to this tracks with maximum effect. I don’t usually have a lot of good to say about Macca, but credit where credit is due. By all accounts he loved being a Beatle playing with The Stones.

Side Effects is a straight forward rocker with a tinge of funk thrown in for good measure. Andrew Watt has had so much influence over these two albums, the backing vocals being an obvious example. They are really in the forefront on every song they are used on, led by Watt, including this one. His production values are really subtle but clever, again harking back to the old days where the guitars are totally separated, and the drums are just there in the pocket. That Jagger and Richards trusted somebody so young to be in the driving seat is affirmation of his prowess and talent.

Penultimate song Back In Your Life, is a ballad, a very emotional ballad which The Stones do historically well going back to You Better Move On.in 1964. This one has Jagger appealing to a lover or ex lover to let him back into their life, something he has quite a bit of personal experience at I would have thought. The song really builds half way through, with Ronnie Wood delivering a blistering pained solo, ripping the notes from his guitar, while a brass section comes in the background to stir those emotions only a brass section can do.

And last track Beautiful Delilah is a version of a Chuck Berry song. A rough and ready acoustic led tune, which I’m sure is decidedly different from the original, although I’m not familiar with it.

It features some slide guitar, from whom I’m not sure but I feel it maybe Ronnie. What a great way to end this album, I’m sure it was recorded in some down time when they were just having fun. Their first album opened with a Route 66 an old jazz song which Chuck Berry made his own, and his influence over The Stones is palpable and indelible. Imagine if Mick Jagger hadn’t had a Chuck Berry album under his arm when a shy Keith Richards met him on Dartford train station all those years ago. The conversation might have gone along the lines of “Alright” “Yeah, you?” “Yeah…….well I’ll see you around” And the moment would have gone. No Rolling Stones, No Jagger Richards, Mick Jagger ending up a top flight accountant, Keith going from one prison sentence to another for petty crime and drugs. BUT!! The conversation went – “Hey what you got under your arm” “ Oh Chuck Berry Rocking At The Hop and Muddy Waters The Best Of” “when can I come round and listen”. And the partnership was forged. Praise the lord, and Chuck Berry and Muddy Waters.

Oh what a delightful album. I have bought every Stones album as they came out, and since Dirty Works have been somewhat disappointed, but recently I have been going back to these albums Like A Bigger Bang and discovering gems which I was dismissive at the time, but this one is just perfect for me. It was instant, a eureka moment. It is The Rolling Stones at full throttle, doing what they do best, a bit of rock, a bit of funk, a bit of soul, a bit of country, a bit of blues, a bit of pop, and a couple of ballads. What more could a poor boy ask for.

So thank you Mick, thank you Keith, thank you Ronnie. There will never be another band to replace The Stones, that era is drawing to a close. They invented a sound, they invented a look, they exploited attitude, they created their own label, with an logo which is one of the most recognisable images around, they invented arena touring, they invented sponsorship. Love them or hate them their influence over the music business is unequalled and unrivalled, and I for one am really pleased and amazed that they have produced this album of goodies. ***** (******* Andy’s rating scale!)

Review by Andy Sharrocks

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