The album is a reassertion of their louche genius - and a reminder that the 2023 vintage Stones are more than a monolithic touring machine
The album is a reassertion of their louche genius – and a reminder that the 2023 vintage Stones are more than a monolithic touring machinesnarled into life in the early 60s, they were scrawny kids barely out of school who had modelled themselves on the ancient bluesmen of the American South., and Ron Wood are now the antediluvian musicians. But they’ve never sounded more full of vitality. Age has not withered them – in fact, it seems to have barely intruded on their thoughts.is a lot of things.
People have been writing the Stones off as decrepit fossils since the 90s – when they were only just out of their forties. So perhaps it is no surprise they seem indifferent to the wear and tear of the decades., recorded in LA, New York, London and the Bahamas – well, this is the Rolling Stones – and produced by Andrew Wyatt.. He works a similar magic with The Stones, refining the clichéd elements of their writing into a sound both familiar and full of zing.
There are lots of surprises. “Come on Paul, let’s hear something,” declares Jagger on “Bite My Head Off”. “Paul” would be Paul McCartney, who happened to be working in an adjoining studio and wasHackney Diamonds ’ 12 songs. His place is elsewhere filled by Steve Jordan, who lacks Watts’s jazzy nuance but brings plenty of the oomph this band demands.provides dazzling backing vocals on the gospel-fuelled “Sweet Sounds of Heaven”: a seven-minute belter so quintessentially Rolling Stones you can almost see that giant lips logo materialise as it unfurls.
And then there’s the comedown: a raw, rootsy cover of Muddy Waters’ “Rolling Stone Blues” where Richards bashes an acoustic guitar and Jagger takes on the role of the haggard bluesman. It’s the only moment when he acts his age on a record that functions as an irresistible valentine to growing old with a wink and a roar.Big Brother
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