Tumbling Dice 45 by The Rolling Stones

February 29, 2012

When in doubt, write a song about gambling and love. Blues artists have been doing it for almost a century.

“Tumbling Dice” was the lead single from the classic Rolling Stones album, EXILE ON MAIN STREET. It was a commercially successful in the United States reaching number seven on the BILLBOARD MAGAZINE Pop Singles Chart during the spring of 1972.

Keith Richards provided the lead guitar work and Mick Taylor some supporting slide guitar. Taylor also provided the bass work as Bill Wyman missed the sessions. The piano work was curtesy of Nicky Hopkins.

It all added up to more good rock ‘n’ roll from The Rolling Stones.


Honky Tonk Women 45 by The Rolling Stones

February 28, 2012

The Rolling Stones had me from the cowbell intro on this one.

“Honky Tonk Women” remains one of the Rolling Srones signature and most popular songs. Released during the summer of 1969, it topped the BILLBOARD MAGAZINE Pop Singles Chart for four weeks.

It contained one of Keith Richards best guitar performances and when you add it Mick Taylor’s later overdubs, it was a guitar lovers delight.

It was also their last chart single in the United States on the London Label before they switched to their own Rolling Stone label.


Brown Sugar 45 by The Rolling Stones

September 26, 2011

The last original issue Rolling Stones single in the United States on the London label was the chart topping “Honky Tonk Women.”

If you are going to start your own label, it helps that the first single release on the Rolling Stone Label was one of the best rock songs in music history. “Brown Sugar” was was released May 1, 1971, and would spend two weeks at the top of the BILLBOARD MAGAZINE Pop Singles Chart.

The Rolling Stones were arguably the best rock band of the 1960s and then Mick Taylor replaced Brian Jones as the second guitarist and they became one of the best, if not the best, rock band of all time. Taylor and Keith Richard may not have got along, but Taylor pushed Richard to be better.

“Brown Sugar” just rocks from beginning to end. An essential listening experience.


Satisfaction 45 by The Rolling Stones

December 20, 2009

“(I Can’t Get No) Satisfaction” is one of the signature songs of rock ‘n’ roll. It opening guitar riff is instantly recognizable to three generations of music fans. It is difficult to believe that it will be 45 years old in just a few months.

The Rolling Stones formed in early 1963 as a British rhythm and blues/rock fusion band. Their first hits in The United States made them an important part of the British Invasion. “Time Is On My Side,” “The Last Time,” “It’s All Over Now,” and “Heart Of Stone” gained them acclaim and popularity on both sides of the Atlantic Ocean. These songs were, however, just a warm-up.

“Satisfaction” hit number one in the USA in June of 1965 and stayed there for a month which propelled The Rolling Stones into the upper strata of rock bands. Even the somewhat tongue in cheek flip side, “The Under Assistant West Coast Promotion Man” is very listenable.

“Satisfaction” was and remains rock ‘n’ roll at its very best and is one of the perfect single releases in rock history. Very few artists have covered this song as it was done right the first time. It set The Rolling Stones on the road to becoming the world’s greatest rock band.


A Bigger Bang by The Rolling Stones

February 24, 2009

A Bigger Bang was released in the United States on September 6, 2005. To date this is the last Rolling Stones studio album. It reached the number three position on the American charts and sold over a million copies in this country alone. This release proved there is still some life left in the old dog.

The Rolling Stones retreated to Mick Jagger’s house in France and set up shop in his personal studio to record this album. Mick, Charlie and Keith form the basic core for A Bigger Bang. Regular bassist Darryl Jones plays on most of the tracks and keyboardist Chuck Leavell also makes several appearances. Ronnie Wood only contributes to about half the songs. There is basically no one else. Mick plays some bass, harmonica and even an effective slide guitar. This back to a basics, stripped down affair works well as it returns the Stones to their rock ‘n’ roll roots.

This was a good effort for the Stones as they proved they can still sound fresh and make energetic rock ‘n’ roll 45 years after their birth. I can’t help but think that what separates this album and a number of other good Rolling Stones albums are just the lack of a classic or signature song to provide a foundation from which to launch the rest of the tracks. When I listen to the album as a whole, it is mostly excellent, yet if I start separating the songs into their individual parts it does not fare as well.

The Stones would leave on another massive world tour in support of this release and it would be anything but a basic stripped down affair. Rather, it would fill stadiums and arenas for over two years and gross close to a half billion dollars. The highlight of the tour would be a free concert in Brazil that would draw close to a million fans.

The song, “Dangerous Beauty,” really defines this album. It is just Mick, Charlie and Keith laying down some basic rock ‘n’ roll. I can’t help but wish that there was more music of this type.

“Rough Justice” is the lead track and informs the listener that all is fine with The Rolling Stones. Keith’s guitar and Mick’s strong vocals combine together to drive the song along. “Let Me Down Slow” contains a line that says; “are you coloring your hair with some new kind of dye?” This short verse just about somes up the members of the Stones as they had entered their sixties.

A Bigger Bang contains a number of other worthwhile songs. “Rain Fall Down” is a power ballad type number with a Mick Jagger falsetto that harps back twenty years or so. “This Place is Empty” finds Keith giving what appears to be a tired lead vocal which is just about perfect for him after all these years. “Oh No, Not You Again,” is a classic Rolling Stones track with Keith and Ronnie meshing their guitar sound into a solid rock ‘n’ roll romp. “Back Of My Mind” may be the best track on the album as it returns the Stones to their blues roots.

The only real miss on the album is the political, anti-Bush, anti-Washington, “Sweet Neo Con.” Political views aside, 2005 was not a year that I wanted to hear non Americans criticizing this country, especially when it was a poorly constructed song.

A Bigger Bang proves that The Rolling Stones can still produce credible and relevant rock ‘n’ roll. Mick Jagger has stated that he likes this album and that’s good enough for me. Hopefully there will be more to come.


Stripped and No Security by The Rolling Stones

February 22, 2009

Stripped, released in 1995, and No Security, released in 1998, and were the eighth and ninth live albums released by The Rolling Stones. Sometimes I wish the Stones would have put as much thought into their modern day studio albums as they did into these two live albums. Conceptually the albums are well thought out and as such are interesting.

Stripped may be the best Rolling Stones album of the past twenty years. It is as the title implies. The album is basically Jagger, Richards, Watts, Wood, and Jones with Chuck Leavell in support. The songs were recorded live in the studio and in small venues. There are some electric guitars present but it is the acoustic sound that makes the album unique and creative. Best of all is the choice of the songs. Many obscure tracks and a few gems are resurrected for creative reinterpretations.

Bob Dylan’s “Like A Rolling Stone” received the most airplay when this album was released. If you are going to interpret Dylan, and particularly this song, you had better be not only good but inventive, and the Stones are both. They cruise through a rocking, rollicking version with Mick Jagger providing stellar vocals.

The album is mostly a highlight reel. “Street Fighting Man” is given an acoustic-electric treatment which changes the tenor of the song but not the intensity. “Not Fade Away” returns forty plus years after its release and Mick Jagger’s copying of Buddy Holly’s vocal intonations is priceless. “Dead Flowers,” from Sticky Fingers, retains its country roots and features an appropriately insincere vocal by Jagger. The old Robert Johnson tune, “Love In Vain,” is given a fine blues treatment featuring Woody on slide guitar. This version of “Wild Horses” is definitive.

I would love to see the Stones perform this way on tour. It would just be the Stones sitting around and casually playing their songs without hype or fireworks. The problem is the Stones can still sell out stadiums and arenas, so it is a question of economics. Stripped presents the Rolling Stones at their best and as they should be every so often.

No Security does not have the brilliance of Stripped but is interesting in its own right. I call this a fill in the gaps live album. The songs had either never been released on a Stones live album or at least had not appeared for a very long time.

“You Got Me Rocking” features a fine Keith Richards guitar solo with Woody in support. “Out Of Control” and “Flip The Switch” both rock nicely and it is nice to hear live versions of these studio tracks. “Respectable,” from Some Girls, is vastly superior to the largely forgotten studio version. “Sister Morphine” is still chilling and will always bring Marianne Faithful to mind. Taj Mahal joins the Stones on “Corinna” and chugs through an excellent version of this song.

A real miss on the album is the Dave Matthews collaboration on “Memory Hotel.” He takes Keith’s place and duets with Mick Jagger. This is a strange vocal pairing at best and makes me long for good old Keith.

No Security features mostly fine, but not outstanding performances. It is probably an album that can be skipped unless you want to, as I wrote earlier, fill in the gaps.

Finally; can anyone tell me the names of the two people on the cover of the compact disc?


Bridges To Babylon by The Rolling Stones

February 22, 2009

It had been three years since the last Rolling Stones studio album and the group was preparing to leave on another massive tour. The Stones would play 108 shows over the course of a year before four million fans and gross over a quarter of a billion dollars. Mick Jagger was writing songs for another solo project and did not want to record a new Rolling Stones album. Ronnie and Keith outvoted him 2 to 1 and so Bridges to Babylon was born. It would be their last studio album for eight years.

Bridges to Babylon was recorded over a four-month period during which Mick Jagger and Keith Richards were constantly at odds over the album’s vision. Richards wanted a back- to-basics sound and Jagger wanted a modern-techno sound. This animosity created an album of disparate and varied songs that ultimately turned out all right. Eleven years after its release I call this album good but not great, pleasurable but not overly creative and very playable but not essential.

I tend to think the Keith Richards contributions are the strongest. He sings an unprecedented three songs on this album. “You Don’t Have To Mean It” is a nice reggae effort and he provides superior guitar lines to support the vocal. The final two songs of the release, “Thief In The Night” and “How Can I Stop” are typical Stones songs of sex and rock ‘n’ roll. Richards vocals strain successfully to provide a strong ending to the album. These are totally Keith Richards’s creations as Jagger had walked out of the sessions and did not appear or work on the tracks.

The most interesting track was the funky and interesting “Anybody Seen My Baby.” It is an infectious song with some rapping and you almost want to sing along. After the track was completed Keith Richards realized that they had inadvertently copied the melody from a K.D. Lang song. It all turned out well as she did not really care and was happy to accept a writing credit.

“Might As Well Get Juiced” was the prototype Mick Jagger song on the album. It featured drum loops and a dance beat. Jagger played some fine harmonica but I have never been a big fan of the Stones in dance mode. This song and others carried on Jagger’s inclination to make music similar to what was hot at the time.

“Gunface” was the hardest rocking song on the album and possibly of the Stones 90’s output. Keith’s guitar rips along in support of lyrics of violence. “Low Down” and “Saint Of Me” are average rockers but are not offensive. Mick does hit the spot with the ballad, “Always Suffering.” He seems to be focused and proves that most of the time, at least for the Rolling Stones, less is more.

Sometimes The Rolling Stones’ members were their own worst enemies and victims of their past successes. This was most apparent in the studio but rarely so in concert. I thing Bridges to Babylon is under-rated but could have been better. My feeling is that there were just too many people in the studio. There are nine bassists credited on the album and Charlie Watts hired veteran studio drummer Jim Keltner to sit in when he was disinterested. Still, while the album produced no breakout or truly memorable songs, when taken as a whole, it remains a good listening experience.