Ronnie Wood

Concert Review: The Rolling Stones, ‘Hackney Diamonds Tour’ – Denver, Colorado June 20, 2024

~ kcorsini ~ 6 Comments

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*Photo of the ‘Hackney Diamonds’ logo from the Denver Stones show, taken by your intrepid blogger.

I just got home after driving that long stretch of bricks back from Denver to K.C. I shouldn’t complain about driving, I’ve always loved road trips. While the Rock Chick is fast asleep, I’m still chugging along on that unique, post-concert high from last Thursday when I saw the unstoppable legendary Rolling Stones at Mile High Stadium, Denver, Colorado. It’s been three days and I’ve still got my head in the clouds like you do when you see a great show. Admittedly, the Stones have always been my “alpha and omega” of rock n roll, but that was one helluva show. There’s nothing quite like that post show buzz. It’s like “new car smell”… if we could just bottle it, we’d make a fortune.

Seeing the Stones this time around was a bit bittersweet. They’ve never said anything about calling it quits, but having lost original drummer Charlie Watts (RIP) a few years ago and knowing that time is essentially undefeated, one has to wonder if this might be my last time getting the privilege of seeing “The World’s Greatest Rock Band.” Thinking about it, I can’t believe it’s been 43 years since the first time I saw them on the tour in support of Tattoo You. I actually saw them once in KC on that tour (George Thorogood opened and ex-Stone Mick Taylor happened to be in town and jumped up for a song or two) and twice in Houston with my buddy Brewster (ZZ Top opened, which was my first time seeing them as well). While ZZ Top kicked ass both nights – some biker dude standing next to me in the General Admission floor area said as they closed their set, “The crew probably have to sweep up a bunch of mud when those shit kickers get done up there,” I had no idea what he was talking about so I faked a laugh…I was in maybe 16, discretion is the better part of valor – there was nothing like that first time seeing Mick Jagger, dressed in football pants and an Eagles jersey race around the stage. I was surprised by how blue his eyes were… yes, I was that close to the stage, surrounded by a biker gang and lived to tell the story. I briefly lost a shoe, but found it before the show as over…

While I’ve seen the Stones around 14 or 15 times over the span of the aforementioned 43 years, it had been since 2015 on the Zip Code tour since I’d seen them last. As I stood in the twilight of Mile High Stadium (or Empower Field, pick your corporate sponsor) surrounded by fifty or sixty thousand of my new closest friends, I couldn’t help but think, “How do the Stones continue to deliver such amazing rock n roll, this far down the road?” I don’t ask why they do it – if you’ve stood in a stadium with those 10’s of thousands of fans singing “You Can’t Always Get What You Want,” and feel the love that people have for this band – you kind of know “why” they do it. I don’t even question if they should be out there any more. Nobody hassled Muddy Waters and he played until he was 70. While the Stones continue to deliver outstanding shows, why stop now?

The Stones, pound for pound, are still putting on the same high energy, electrifying concerts that they have for… well, certainly all my life, but even longer than that. Mick Jagger, now 80, defies age. He moves all over the stage – from wing to wing and out onto the walkway that leads to the secondary stage in the middle of the floor. His voice is a medical marvel. At one point, during “Mess It Up” he hit a falsetto note that men half his age couldn’t hit anymore. Keith is indeed getting a big craggy. He brings a bit of a wobbling, unpredictable sloppiness to the affair but its perfect for the Stones. On certain songs, Keith will hit a riff and you can audibly hear the sound guy crank up Keith’s guitar. Ronnie Wood, on lead guitar, was a force to be reckoned with. His playing is so elastic. The way he dodges around what Keith and the band are playing sort of acts as the glue on most songs. While I severely miss Charlie Watts on drums, Steve Jordan, Watts’ stand-in (I won’t say replacement, you don’t “replace” Charlie Watts) did a fabulous job. I was impressed with him. Thursday’s Denver show as the first time I’d seen the Stones with Darryl Jones on bass – who I’ve always felt was a capable player – actually make a difference. He was on fire bringing up the bottom.

The Stones also augment the band with venerable Chuck Leavell on keyboards, two horn players and two back up singers: Bernard Fowler (who we love down here at B&V) and newcomer (to me at least) Chanel Haynes who it appears has replaced Lisa Fowler. I did see one of the horn players jump over on keyboards for a song or two but I could be wrong about that. The horns and the back up singers make for a nice, well-rounded sound. In ’81 when I saw the Stones, Ronnie and Keith were the only back up singers and I think sax player Bobby Keys was the only horn on stage. Ex-Faces keyboard player, the late Ian McLagan was the keyboard player back then, but I digress.

As I’ve said, it was a great show. I was excited about this show because for the first time in a very long time, the Stones were out in support of a wonderful new album Hackney Diamonds. I think it energizes a band to have new music to play. In all, they played four new tracks from the new album and I would have been happy to hear several more they didn’t play. The evening opened up with the ol’ war horse, “Start Me Up.” They nailed the tune, but I think it was a tactical error. I think they should have opened up with the last single from Hackney Diamonds, “Angry.” But, I know the bigger the crowd the more “crowd pleasing” the setlist. Next up was a muscular version of “It’s Only Rock N Roll.” Earlier in the tour they were playing “Get Off Of My Cloud,” and I wish they’d kept that song in the set, but I was cool with “It’s Only…” The horns kicked in and they rocked a great version of “Bitch.” I knew at that point they were taking no prisoners. Next up was “Angry” and it did not disappoint. I was so glad to see them bring the house down with that one. Even Keith was singing along, off microphone.

The mood shifted as Mick put on an acoustic guitar and announced the “fan vote” song as “Let It Bleed.” Who doesn’t love that one? That sort of kicked off a country rock vibe when they followed it up with “Wild Horses.” Oh my, they just killed it on “Wild Horses.” The 70 year old dude to my left, who had been furiously playing “air guitar” all night, elbowed me, pointed at the big statue of a horse on the top of the stadium and said, “Well, they have to play this song here, see the horse?” Sure, man, whatever. It was then Mick turned the vibe back up for another new track “Mess It Up.” It’s a killer track. After that Keith slides into that killer opening riff from “Tumbling Dice” and the crowd was frenzied. I saw old white men dancing like they don’t know how. Not to mention the family in front of me with the two little kids who danced and sang along to every song… I don’t even have all those lyrics memorized… kudos children.

“You Can’t Always Get,” became a giant, football stadium sing along. That led to the band intro’s which always means it’s Keith’s time at the microphone. The first time I saw the Stones, Keith sang one song, “Little T&A.” For most of the shows I’ve seen post Steel Wheels, Keith does two songs while Mick leaves the stage for a break. For the first time ever, Keith sang three tracks! I love Keith and I tend to look for his songs when a new Stones’ album comes out because they’re always my favorite. But even I gotta say, three Keith songs feels like maybe one too many in concert. He did his new ballad, “Tell Me Straight,” from the new album and I was thrilled. He followed that up with the aforementioned “Little T&A” and I thought Mick would come back out… Not so, Keith launched into “Happy,” his signature track. “Happy,” a song I haven’t heard him play in a while was pretty awesome. Ronnie was playing a furious pedal steel… at least I think it was, it sounded more like a slide guitar laid down on a table.

As typically happens after Keith’s set, Mick returns and they run through the tracks that you expect to hear at a Stones’ show. They did a hypnotic version of “Sympathy For The Devil.” Then Keith kicked off the epic riff of “Honky Tonk Woman,” another stadium sing along and that’s where the show started to take off and the Stones seem to transcend a typical stadium show. “Honky Tonk,” launched it but then they played the classic blues track “Midnight Rambler” and it remains an epic landmark tune. Mick was quoting Muddy and Robert Johnson and playing the harmonica like he was playing at a local blues joint. At that point the band launches into “Gimme Shelter” and Chanel Haynes comes out like a woman possessed and sings the female lead on the track. Mick looked like he was having good fun with his new vocal sparring partner. At that point they launched into “Paint It Black,” one of their greatest early songs and you could tell the Stones had the entire stadium in the palm of their hands. It’s amazing to see a rock band just take off like that.

They ended the main set with “Jumping Jack Flash,” which was pretty standard. The encore started with the final new track, “Sweet Sounds Of Heaven,” and I went nuts. I had seen that they’d dropped that song from the setlist and I was so thrilled to get to hear that song live. Chanel once again killed on the female lead vocal. It’s the kind of a song I didn’t think the Stones could do anymore. After that, as expected they launched into “Satisfaction” which left the huge crowd streaming out of Mile High very satisfied indeed.

All in all they played about 2 hours and 10 minutes. It’s rock n roll like you don’t get to see much of these days. If I had any complaint – and it’s a nit – it’s that the Stones don’t take many risks on the setlist. I’d have loved to hear “Get Off Of My Cloud,” or some other early track they haven’t played in a while…maybe surprise us with “Under My Thumb.” They’ve played “Jumping Jack” and “Satisfaction” at every show I’ve seen… maybe drop one of those and play something else. I’d love to hear any song from Steel Wheels or A Bigger Bang. They’ve put out some great stuff since ’90 and I think that stuff is well known enough to slip a track or two onto the setlist. I mean, I realize we’re not gonna get deep cuts like we did on the recently released theater show Live At The Wiltern, but throw an oddball track or two on there for us catalog fans out here…Nobody’s gonna be mad if they played “Sad Sad Sad.” Maybe a reggae tune? A man can ask, can’t he?

But again, if that’s my only complaint, it’s a bit like complaining about an embarrassment of riches. I would urge anybody who has the financial means – and I realize that it’s a hefty ticket price – to try and get out to see these guys. The way they’re playing they could be around another 43 years, but to be on the safe side…I’d try and see them now, on this ’24 tour. Besides, don’t we all need a new Stones concert T-shirt? Seeing the Stones on this tour will be something you tell your grandkids about… Hell, maybe just take your grandkids with you?

It’s a long dark ride… grab some friends and go to a show and sing, “but you get what you neeeeed” at the top of your lungs… it’ll do you a world of good. It certainly did for me.

Cheers!

Review: The Rolling Stones, ‘Live At The Wiltern’ From the ‘Forty Licks’ Tour (2002) – A Glorious Theater Show!

~ kcorsini ~ 8 Comments

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When I think about artists who have a great “official bootleg” business going – i.e., bands who are actively releasing stuff from their vaults – I tend to think about Neil Young (whose Archive Series is remarkable), or Bob Dylan (whose “official bootleg” series started it all). Or I think about Springsteen who mostly (other than the box set Tracks, or deluxe versions of past LPs) has focused mostly on releasing concerts from years gone by (seriously, do yourself a favor and pick up anything from 1978 or 1980). Meanwhile, while I’ve been focused on those artists, my favorite band on the planet, the Rolling Stones have been quietly releasing – much like Springsteen – a series of concerts from past tours. Believe me, I’ve been front row for the Stones’ “Deluxe LP” versions of Tattoo You or Goats Head Soup with all those box set’s extra goodies (“Criss Cross” is still in high rotation around here). However, I guess I own so much live Stones that I’ve kind of turned a blind eye toward the live stuff they’ve been putting out. Shame on me…

I saw recently (last Friday), the Stones were releasing a concert from the Licks Tour which ran from 2002 to 2003. Recently I’ve seen the Stones release Steel Wheels Live or Voodoo Lounge Uncut or Grrr! Live from the 50 & Counting Tour. I saw the Stones on all of those tours and they were always great. Typically the Stones release a live album from every tour – and I’ve purchased many of those – so I figured I was covered. However, now that Stones are releasing complete shows from those tours, I have to admit, those play so much better than the live albums culled from those tours. Much like I said for the Who’s recently released Live At Shea Stadium 1982, when four or five certain musicians inhabit that magical space we call “the stage,” the chemistry can create magic. I’ve always felt that way about the Stones. It’s a kinda magic.

Originally, when I saw that the Stones were releasing this new live LP, Live At The Wiltern, I consigned it to the long list of live Stones’ stuff I probably wouldn’t jump in on. I mean, this wasn’t a legendary show like Live At The El Mocambo, or was it? Eventually curiosity got to me. I checked, and the Wiltern is a 1,850 seat theater in Los Angeles. That piqued my interest. The Stones can play the biggest stages/stadiums in the universe, but when you get them in a theater something special happens. Jagger always seems so much more relaxed in a theater when he’s freed from the onus of performing in front of 70,000 people. The show was from the Licks Live tour, in support of the greatest hits package Forty Licks, which was the first Stones show I went to where the Rock Chick was with me. I did see that this show was from November 4th, 2002 and the Rock Chick and I saw this tour in Chicago, less than 2 months prior on September 10th, 2002 at the United Center and that was a great, great show. The Pretenders opened up and Chrissie Hynde dedicated a reggae track to Mick & Keith who she said “helped bring reggae to the world.” Indeed, they did.

I couldn’t help myself, I had to check out Live At The Wiltern. Charlie Watts was still on drums, and that’s worth the price of admission. Charlie is joined, as always, by Mick Jagger (vocals), Keith Richards (guitar), and Ronnie Wood (guitar). The band that night was filled out with Darryl Jones (bass), Chuck Leavell (keyboards) and killer back up singers: Lisa Fischer, Bernard Fowler, and Blondie Chaplin. They even brought along a horn section (4 folks) which included legendary, late sax man Bobby Keys who had played on such classics as “Brown Sugar” and “Can’t You Hear Me Knocking.” When the Stones play theaters, they tend to mix up the setlist and they end up playing a bunch of deep tracks, which frankly I want to hear more than the usual stuff. And, once I saw the setlist on this concert album I knew it was going to kick ass. I put on some headphones and what a listen!! The guitars – one in each ear – accomplish what Keith always describes as “the ancient art of weaving.” This really is a special show. I am only commenting on the 2 CD version of this, I haven’t seen the Blu-Ray. As I mentioned  recently on a post about my journey as a collector, I’ve switched back to CDs, but I have to sneak those into the house in elaborate ways to get them past the Rock Chick…I do have a birthday coming… but I digress.

For a long time Stones fan, this set list is a treat. They open with “Jumping Jack Flash,” which I consider a Stones’ “standard.” When the Rock Chick and I saw them they opened with “Street Fighting Man,” so I knew they were shaking things up here. But I never expected a rocking version of deep track “Live With Me” as the next track. A rocking “Hand Of Fate” from Black And Blue, one of those albums only I like, was a wonderful surprise. Again, I love that the guitars are right up front and Jagger sounds delighted to be singing something other than “Satisfaction.” Country-blues track “No Expectations” is an absolute highlight with Ronnie on pedal steel. They even do “Stray Cat Blues” (which they did when I saw them) and while it’s not politically correct anymore, it’s a great blues tune. The whole first half of the set is a Rolling Stones’ Deep Tracks fan’s wish list.

They even dig deep for one of their disco songs from the 70s, “Dance, Part 1.” Like, I’ve said before about disco, if you can’t beat ’em, join ’em. It’s sloppy as hell, but as usually happens the Stones lock into the groove and pull it out in the end. After that, the Stones go into the “soul review” part of the show where they play three tracks from the acts that inspired them. It was a cool mini-set and utilized the horn section well. They do Solomon Burke’s “Everybody Needs Somebody To Love” which they’d recorded years and years ago. Since Solomon was the opener that night, it makes sense he’d come out and join them to sing the song. From there, they cover the wonderful Otis Redding song “That’s How Strong My Love Is.” They wrap the soul thing up with “Going To A Go-Go” which is a track they started playing on the first tour I saw them on, in support of Tattoo You. Bobby Keys kills on the sax solo.

After Mick introduces the band, it’s Keith’s turn at the mic. Keef’s singing sends a lot of people to the beer line, but I’ve always loved the Keith songs. He starts with “Thru And Thru” which I think is much better live than on record. He then digs deep for a reggae tune “You Don’t Have To Mean It.” Keith used to just do “Happy” and I just love that he’ll sing any song he’s ever sung at any point in the Stones’ career. It’s always a highlight when he walks up to the microphone. Mick comes out and they just kill “Can’t You Hear Me Knocking,” a song I would have sworn they played at the United Center… I’d never seen them play that song… it turns out, I didn’t hear it until the Bigger Bang tour. Memory is a tricky thing… After the old blues tune “Rock Me Baby,” which perhaps foretold that Blue And Lonesome might happen and the great track “Bitch,” the Stones start to hit the “standards” list again. To get to the finish line they run through “Honky Tonk Woman,” “Start Me Up,” “Brown Sugar” and finally “Tumbling Dice.” And I’m not complaining, they rock those songs. Yes, I’d have loved if they’d kept on the deep tracks thing and played say, “Ventilator Blues,” but then I’d have been the only one jumping up and down on that one. Ronnie Wood is solo’ing all down the line on these tracks and he’s fabulous.

Live At The Wiltern captures the Stones on a very, very good night in L.A. When the Stones are sloppy and off, they’re still pretty good – just like pizza. But when they’re good – like they are at this show – they are simply sublime. The Stones get dinged for being sloppy but to me it’s more about a willful recklessness that to me represents freedom… freedom from restraint or worry – than mere sloppiness. They come out and leave it all on the stage. When the Stones gel, it’s magic, baby.

Turn this live treat up loud and dance around the room doing your best Jagger impersonation, I know I’ll doing that. It’s one of their better live performances. Sure, it’s not Get Your Ya Ya’s Out, but not many live albums are. The guy we got the United Center Tickets from actually had a spare ticket to a show they did a few nights later in a Chicago theater, the Aragon. Bono jumped on stage and sang with the band on “It’s Only Rock N Roll.” The dude, didn’t go… he wasn’t a Stones fan. I’d have flown back up for it… Oh well. I now realize, listening to this album, what a magical night I’d missed when the Stones played that theater. Bygones… At least I now have this wonderful document to sooth my wound…

Cheers!

Review: The Rolling Stones Return After 18 Years With The Superb ‘Hackney Diamonds’

~ kcorsini ~ 14 Comments

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Well it’s about time. Or maybe I should start with “good things come to those who wait…”

I keep a running list here in my desk at the B&V Labs of “upcoming albums,” some actually announced, some are purely from my wish list. Every year for as long as I can remember I’d write down “The Stones, new album 20xx.” Then I’d end up scratching out the year I wrote down and replacing it with the next year and then the next year. I can’t believe it’s been since 2005’s A Bigger Bang, which was a great Stones’ album by the way, since Mick Jagger, Keith Richards and Ronnie Wood have graced us with an album of original tunes. Alas, we lost drummer Charlie Watts in 2021. Granted they did release Blue And Lonesome, an exceptional album of blues covers but I longed for new music from the Stones. Sure, they’ve teased us over the last few decades… 2012’s Greatest Hits package GRRR! had two new tracks, “Gloom And Doom,” and “One More Shot.” And during the pandemic they released a great song, “Living In A Ghost Town,” but a new album always remained elusive.

It’s been rumored they’ve been working on an LP for years but just couldn’t pull it together. Spurred by the loss of Charlie, who they replaced with XPensive Wino drummer Steve Jordan (SNL, the Blues Brothers), last August Mick gave Keith a deadline to shoot for – February 14, 2023, Valentine’s Day – as the target date to have an album completed. As Keith has been quoted, “When the singer says he wants to do an album, you do an album.” From what I’ve read I’m not sure Keith had much new material so much of the album was written by Jagger. Keith says his role was to “shape the songs” with Mick. And I will admit, the first time I listened to this album it sounded like a really good Mick solo album. But the extremely eclectic group of songs on this album really started to reveal themselves to me with repeated listens and yes, this is a damn fine Stones’ album. In the almost universal acclaim this record has gotten it’s described as the “best album since Tattoo You.” Which most critics feel is the last great Stones LP. I really liked Steel Wheels… and Voodoo Lounge… and A Bigger Bang. So I won’t be saying anything like that. Hell, I liked the oft maligned Dirty Work, but hey, I’m a Stones fan. Nobody’s gonna tell me “One Hit To The Body” is a bad song.

To help on this new album, the Stones changed producers from Don Was who has worked with them since Voodoo Lounge (and I’m not sure Mick ever liked), and brought in wunderkind Andrew Watt. As long time readers know, I’m a big fan of Watt as a producer (he can also play any instrument, which is handy). He has a knack for bringing out the best in older acts. He’s recently produced LPs from Ozzy Osbourne, Iggy Pop, and Eddie Vedder, all of which I loved. He can get a “classic rock” act to sound… well, like they did in their classic period. He’s certainly given the band a jolt here. While it is a classic Stones-y album it feels modern, “of today,” if you will. There’s an urgency and passion in these songs that I haven’t heard in a while. Jagger sounds totally engaged and totally into it. His vocals on this album are extraordinary for a man of his age. He’s lost nothing. He even gives us some of his classic falsetto.

As mentioned, Steve Jordan mans the drums in place of Charlie Watts. However, they did use Charlie’s drums on two tracks – “Mess It Up” and “Live By The Sword” – which is as it should be. Longtime bassist Darryl Jones was out touring so Andrew Watt, Ronnie Wood and Keith take up duties on bass guitar. Although erstwhile bassist Bill Wyman returned for “Live By The Sword” as a tribute to Watts, which I just love. It’s a special thing to have the original Stones rhythm section on record together again. Paul McCartney also mans the bass on “Bite My Head Off,” which as a music geek I think is just f’ing cool. Longtime keyboard player Chuck Leavell is also AWOL on this record. However, the Stones aren’t short on guests on this record – Lady Gaga, Elton John, Benmont Tench and Stevie Wonder all show up – but the guests don’t overwhelm the band. They fit into the Stones’ sound quite nicely. While there are no Chuck Berry influenced rockers or “Out Of Tears” ballads, there are really great songs here. When I said to the Rock Chick, “Well, there’s no real weeper ballads on here like “Out Of Tears,”” she said, “That’s good…” Always a rocker, the Rock Chick.

Mick has said the material on this album is all around “failed relationships.” I can certainly hear that here… one has to wonder if he’s talking about his and Keith’s relationship… stormy indeed. Anyway, the album starts off with the first single, “Angry.” I’ve already commented on that song, but I will say, it has only grown in my estimation. The Rock Chick and I like to drive around town blaring that song. It’s a great album opener. They follow up with another riff rocker, “Get Close,” which features Elton John on piano. I really like Jordan’s drumming on this song, although I’ll admit that this one sounds almost like a Mick solo track. James King plays a sax solo that almost steals the show. “Depending On You” features Benmont Tench of Tom Petty’s Heartbreakers on keyboards and is an acoustic guitar driven ballad with a touch of country thrown in. It’s a favorite of mine. “Now I’m just a story you tell…” is a feeling I know too well. “Bite My Head” is a full on, meet me at the finish line, punk rock song with none other than Paul McCartney on a fuzz bass. He even plays a solo as Mick yells, “C’mon Paul let’s hear some bass,” which is admittedly cheesy but what a song! Ronnie throws in a great guitar solo to boot. This track made me think of “Shattered” in a round about way, another punk influenced Stones song.

“Whole Wide World” may be, other than “Angry,” my favorite song on the album. Mick has a full on cockney accent. It’s a full on, loping rocker. I love the riff and it’s got an arena sized chorus. I love when Mick sings, “When you think the party’s over and it’s only just begun…” While “Depending On You” hinted at the Stones’ country rock past, “Dreamy Skies” is a full on Stones country song. There’s a great acoustic slide guitar on this world weary track. It’s very stripped down and Mick adds a sensational harmonica. I love when Mick plays the blues harp. The next two tracks feature Charlie Watts and I’m so glad they had something of his to use on this album, their first since he passed. “Mess It Up” is a dance-able rocker in the vein of “Miss You.” It’s funky and Mick does the chorus in falsetto. Charlie is joined by Bill Wyman for “Live By The Sword” a hard rocker thing that boasts another fabulous guitar solo from Ronnie Wood. “Driving Me Too Hard” is another favorite. It’s a swinging rocker with just a touch of a country rock feel to it.

The three tracks that end this album are really sensational to me. Keith takes lead vocals on “Tell Me Straight” where he’s asking his lover for some truth. I always look for the Keith songs on every Stones album and this one does not disappoint. This song makes the album feel quintessentially Stonesy to me… it conjures a closing bar and a tumbler of rye. Next is the jaw dropping “Sweet Sounds Of Heaven” with Stevie Wonder on keyboards and the incomparable Lady Gaga doing a Merry Clayton “Gimme Shelter” harmony/co lead vocal and it’s an astoundingly good Stones song. It’s the kind of song they used to knock out with ease on Sticky Fingers or Exile On Main Street but I didn’t think they were capable of anymore… blues, soul and gospel all rolled into one. Kudos to Andrew Watt for pulling in Stevie Wonder for the song. It’s shockingly good rock n roll. And finally, in another great move, Andrew Watt brilliantly sat Mick and Keith in a room with a harmonica and an acoustic and they go back to the beginning on a Muddy Waters cover, “Rolling Stones Blues.” They’d never covered the song that gave them their name until now. It’s a song that’s hard not to love but then I love the blues. I don’t know if the Stones will ever do another album – I certainly hope they do – but this would be a perfect track to end it all on.

With Jagger this excited about the new music and Andrew Watt on board to give these guys a jolt, there are rumors that the Stones are already half way done with another record. Let’s face it, they don’t have 18 years to wait again. If you’re a fan of the Stones you are going to like this album. It’s really astounding that this far down the road this band is capable of producing something this strong. The band just delivers. This album will be in high rotation here at B&V for the foreseeable future… I just wish my vinyl copy would show up!

Cheers!

New Song Alert: Stones Formally Announce ‘Hackney Diamonds’ With Jimmy Fallon – Release New Single ‘Angry’ – Oh, Yeah, Baby!!

~ kcorsini ~ 11 Comments

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I had to get up early for work today, but truth be told, I’d have gotten up early anyway as the Stones were set to do their album launch broadcast (on YouTube) for the new record Hackney Diamonds. Apparently the original album title was going to be Smash And Grab. The Stones – Mick Jagger (vocals), Keith Richards (guitar/vocals) and Ronnie Wood (guitar) – came on stage at a venerable old theater in London (the Hackney Empire, I believe) and were greeted by American talk show host Jimmy Fallon. I’m not a big Fallon fan, but he did reference an old, deep track from their early days, “Off The Hook,” and damn if that didn’t send me scurrying back to that song for a listen or two… Kudos Mr. Fallon.

The Stones seem loose and excited about the new record. The late Charlie Watts plays drums on only two of the songs and X-Pensive Wino drummer Steve Jordan plays on the rest of the songs. The Stones said they started recording in January and wrapped in February… They did confirm that Andrew Watt produced the record and erstwhile bassist Bill Wyman plays on one track. I was glad I had a few half hour to tune in.

The best part of the announcement this morning was the unveiling of the first single, “Angry.” Other than “Living In A Ghost Town,” this is the first new song from the Stones in the aforementioned 18 years. They did of course release the fabulous blues cover LP, Blue And Lonesome, but this is their first album of all new material and first new single in soooo long. Oh, the anticipation we’re all feeling down here at B&V. The Stones’ first singles, at least since I’ve been a fan, have been on the money. From “Miss You,” “Start Me Up,” “Undercover Of The Night,” to “Mixed Emotions,” and “Rough Justice” those first singles just always connected for me.

Have no fear, the new track, “Angry” ranks up there with all those great first singles of yore. The track starts with a drum beat that leads us to a signature Stones riff. Mick launches in with “Don’t get angry with me, I never caused you no pain…” And just like that the universe has a new Stones track and we’re off and running, baby. I love the wobbly guitar solo. At the end they jam as Mick repeats the chorus. This is a great first single from what promises to be a great new album. Every time I hear this song it grows on me even more, if that’s even possible. This is the music B&V was invented for. Here’s the song:

Beyond that, the Stones released a video for the album featuring the buxom Sydney Sweeney. I’m not usually a “video” guy, but I did thoroughly enjoy this video. While Sweeney is no Tawny Kittaen dancing on the hood of that car in the Whitesnake video, she acquits herself well. She’s riding in the back of a convertible down – I presume – Sunset Strip, dancing around in what can only be described as a “celebration of cleavage.” And if you’re going to celebrate something, why not cleavage? Who could possibly be “Angry” with that? Anyway, as she makes her way down Sunset, she’s surrounded on either side by Stones billboards from the past. I think I even spotted a Talk Is Cheap billboard. The billboards, through the magic of CGI, come alive and perform the track as Sweeney’s rag top car cruises down the Strip. Pretty cool concept. Here’s the video…

Oh, indeed! She even unironically plays air guitar. Be still my heart.

Oh my friends, I can’t tell you what a happy day this is. I’ve got my vinyl copy of the album pre ordered. I may buy this on CD too. Hell, I may re think my “no tattoo” policy after this. When the Stones put out an album – especially this album – it’s a big fucking deal. This will probably the last time we all get a new Stones album and a new Stones first single. Savor this moment people, we may not get another… although they did say they had 23 songs recorded and are only releasing 12… dare I hope for a sequel?

Turn this one up loud and please, don’t be “Angry.” Not with me anyway…

Cheers!