The wrinkled monkeys are at it again! Mick the Baboon, Kit the Hamadryad and Ronnie the Chimpanzee will teach the younger bandar-logs how to play music! After the great 2005 album “Bigger Bang”, it seemed that the Rolling Stones had finally decided to rest on their laurels, throwing bananas of singles at the audience every three years. The suddenly released, albeit good, but optional album of covers “Blue & Lonesome” turned out to be the last major work with permanent drummer Charlie Watts. Watts, unlike the aforementioned primates, led a decent lifestyle, played jazz while resting from work and was devoted to the only woman throughout his life. His only sin is considered to be hitting Jagger’s nose after he condescendingly called Charlie “my drummer.”
In 2021, the Rolling Stones held several recording sessions, and on August 24 of the same year, Charlie Watts left both the band and the mortal world. It was then that the roast rooster pecked our elderly young men: in 2023, the album “Hackney Diamonds” was released, where Watts’ drums sounded in two tunes.
The rest of the tracks were led by Steve Jordan, a longtime friend and collaborator on all of Keith Richards’ solo work. The lack of a signature groove was felt even by the skin on the back of his head, Charlie’s polished playing style put him in the first ranks of world musicians, while the chaotic rumble of moons and bonemas taught young people to make faces in a pseudo-anarchic style. Jordan seems to have taken into account the fallacy of a superficial approach and laid out like a breeding bull on the latest LP.
Bassist Darryl Jones has been with the Rolling Stones for more than three decades and does not spoil the furrows. Andrew Watt, who became the album’s producer, repeatedly told Jagger, “Mick, the lyrics could have been better!” Andrew didn’t do his best as a songwriter, throwing groans and howlers at all kinds of biebers, but he nevertheless rehabilitated himself by working with Zach Wilde to concoct the last two epics of Ozzy Osbourne.
During the recording of The Rolling Stones’ new album “Foreign Tongues”, neither a single Benmont Tench was injured nor alone Steve Winwood. And at that moment, we have to immerse ourselves in the music. Let’s Roll, Moondawgs!
Rough & Twisted is a swashbuckling boogie blues. Guys can do it. The drummer gives out a powerful part, focusing on Watts’ triceratops. You can’t think of a better album opening. The only “but” is the changed sound of the guitars. Perhaps the trend of the times. Probably the guitarist’s arthritis. Anyway, there’s a little more dirt in the sound than expected.
In The Stars is a typical Rolling funk, and considering that the band failed with such material back in the days of “Undercover” (and this is surprising, the album turned out to be very rich, and in some moments even frightening in a good way), the choice of song for the first single looks highly questionable.
Jealous Lover, with its relaxed, springy swagger, once again makes you remember the period of the late seventies and early eighties. Mick sometimes gives out his favorite squeal, as if imitating an ancient voodoo priestess who was offended by a palm tree that shook her off.
Mr. Charm is a pretty powerful song, although the haunting refrain seems a little goofy at first. A special comment about Elon Musk is good: “mad mogul”.
Divine Intervention is an invigorating rock’n’roll from the American countryside, causing an involuntarily satisfied smile. Especially when the vocals go into falsetto.
Ringing Hollow is an excellent country ballad, one of those that old Keith composes so well. Shake the dust off your hat and invite the lady to waltz.
Never Wanna Loose You is a cocktail in which the band slightly changed the proportions of their signature ingredients: a little more rhodes piano (Steve Winwood doesn’t play a single extra note) and a gospel choir, and lo and behold, the stones roll faster, gracefully bouncing. For some reason, Bruno Mars was present on the recording, banging a cowbell. The fact that in puberty he was making dollars in Hawaii, pretending to be Elvis, does not give him the right to bang a cow bell wherever he pleases.
Hit Me In The Head is very assertive. The English scum, or, excuse me, the knights of the British Empire, are doing their best: the keys are rattling, the guitar is roaring, the harmonica is mooing, inviting the chicks to smoke hay in the stall. In recent decades, many have been predicted to be the heirs of The Rolling Stones, but all the chicks are hornless. But it should be like this. Oh yes, and Charlie Watts is behind the drumkit!
You Know I’m No Good is the case when the Cobblestones managed to surprise you again. Amy Winehouse, of course, was spiritually from the same quarry with them, ate the same shoe polish (soul, gospel, rhythm and blues, etc.) and even was a guest singer at their concerts. Amy suddenly left London back in 2011, unable to cope with the lifestyle that Ronnie Wood adheres to, although Ronnie was not at all involved, at that time he was jamming vodka with his Russian girlfriend Katya Ivanova. The recording of Winehouse’s composition is all the more unexpected and enjoyable because, performed in its own Rolling key, it does not lose either its spirit or its charm.
Some Of Us feels like a good cigar after a long sip of tart cognac, which is exactly how Keith Richards’ suddenly velvety baritone should be perceived in this magnificent song that combines the best shades of southern soul.
Covered In You, co-written by pianist Matt Clifford and featuring Paul McCartney on bass, with an original melodic vision, could have been a much brighter single than the ones already released.
Side Effects is a strong song, nothing more. Co-author is Andrew Watt.
Back In Your Life leaves a twofold feeling: the melodica of the baroque lyrics, which the band loved to indulge in in the mid-sixties, is felt here, but the rough blues sound, good in itself, steals harmony. Producer Andrew Watt should continue to produce metalheads, without thrusting an unshaven face into thin fabrics.
Beautiful Delilah is another Chuck Berry rehash, this time in a country-blues key with some even Celtic flourish. Chad Smith, from widely known in narrow circles Red Hot Chilli Peppers, is banging on a huge orchestral drum. Keith always outplayed Chuck on his own field. Although world practice shows that it is possible to play Berry’s songs worse than Berry only if you have a deep stage of disability.
Putting aside thoughts of minor rough edges, it should be recognized that The Rolling Stones have released another powerful album, reminding the inhabitants of the galaxy who the main Band is here. 64 years in service at the time of the release of this record. Sleepless nights with girls, booze and The Rolling Stones, Moon Dawgs!
