The Rolling Stones – Black And Blue (Album Review)

By 1976, The Rolling Stones were already synonymous with rock ’n’ roll. Leaning even further into their blues-based rock styling, The Stones would also add influences from funk and reggae music, thereby showing their willingness to experiment with various styles. This adaptability has, arguably, been a core reason for their success throughout the decades, but it logically isn’t the only reason for the Stones’ continued relevance within the music industry.

Part of the shifting style can be attributed to Mick Taylor’s departure and the need to find a replacement guitarist. Black And Blue’s uniqueness, as a result, is that it became a testing ground for several very talented guitarists prior to the Stones bringing Ronnie Wood into the fold. Yes, Wood’s inclusion would forever change the direction of the Stones, but before that transition took place, the songs that Wood would play guitar on included Cherry On Baby, Hey Negrita, and Crazy Mama. He also appeared as a backing vocalist throughout the record, but the Stones also worked with guitarists Harvey Mandel (Hot Stuff and Memory Motel) and Wayne Perkins (Hand Of Fate, Fool To Cry, and Memory Motel); each to much success. The result of these varied collaborations is that Black And Blue is not only a standout within the Stones’ extensive discography, but is an eclectic mix of songs that make it one of the most compelling releases of all time. 

While there is no doubt as to The Rolling Stones' musical talent, Black And Blue is also notable as being self-produced by Mick Jagger and Keith Richards under the pseudonym The Glimmer Twins. Yes, it wasn’t the first time the Stones would self-produce themselves, but it’s their most impressive self-produced album. Naturally, that is a subjective opinion, but as you listen to the album, consider the strengths of the songs and the way they flow haphazardly throughout as the album’s sequencing shouldn’t work, yet it grows on you the more you listen to the record. 

Speaking of the listening process, while I was fortunate to have owned, for a period of time, the Studio Albums Vinyl Collection 1971-2016, I can say that while the half-speed master of Black And Blue was lovely, and I also didn’t mind the 2009 CD reissue, but the 2009 lossless remaster from Apple Music is in every way the physical counterparts’ ideal peer. Granted, the vinyl re-issue may have had a little more of a rounded sound, due to the format’s mastering requirements, but what’s telling is that every time I listen to Black And Blue, via the stream, I’m not missing the physical releases that I once owned. That may be blasphemy to some, but as the Apple Music release is also an Apple Digital Master, I find them to be incredibly enjoyable to listen to and in some cases, such as this, they match or exceed the physical counterpart. The takeaway is that regardless of how you choose to listen to this classic album, you’ll have a thoroughly enjoyable musical experience.

Hot Stuff kicks the album off with a disco/funk feel that makes you question if you’re really listening to a Rolling Stones album. Well, you are, and that genre-bending approach works exceedingly well; particularly as it embraced the musical trends of the 70s. No doubt, fans will forever be torn regarding Hot Stuff as it was quite the departure from their traditional blues-rock roots, but the guitar soloing throughout ensures that elements of their core styling remained intact. Perhaps the only criticism that can be directed at the song is that it’s a tad long and is, subsequently, a little repetitive.

Hand Of Fate brings the Stones back to their bluesy roots with a gritty and powerful sound. Keith Richards' signature guitar riffs propel the track forward, while Jagger's lyrics paint a vivid picture as the song's raw energy and relentless pace make it a standout blues-rock anthem.

Cherry Oh Baby shifts the sonic direction of the album, yet it’s extremely compelling and the detour into reggae demonstrates the Stones’ ability, and willingness, to experiment with different influences. If nothing else, Cherry Oh Baby adds an eclectic mix to an album that can’t easily be pigeonholed.

Memory Motel is one of the album’s highlights and is one of the greatest ballads ever recorded, by anyone. As the narrative and musical bed slowly unfold, you’ll be swept away by Memory Motel as it’s simply unforgettable. 

Hey Negrita was always going to be a tough sell following the smoothness of Memory Motel, but by the time Jagger’s lyrics enter the mix, the upbeat nature of the song transitions the mind to this solid album-only tune; one that is a little overproduced and would, arguably, have been more appealing had it been exclusively a rock-only tune.

Melody, with a touch of blues and jazz influences, again shifts the tone of the album but it works so well that you likely won't skip a beat when Melody comes on. It’s also a song that I dare say Charlie Watts would have thoroughly enjoyed recording; due in part to his love of jazz music.

Fool To Cry is another of the Stones’ incredible ballads and is a perfect companion to Memory Motel. There’s no doubt in my mind that Fool To Cry and Memory Motel are core reasons why Black And Blue remains a standout release amongst the Stones’ incredible discography. 

Crazy Mama closes the album on an energetic note with a blues-infused rock number that has some killer riffs, a thoroughly enjoyable overall rhythm, and dynamic vocals that, when combined, become a fitting conclusion to the diverse musical journey of Black And Blue.

No matter how you view Black And Blue, it stands as a testament to the band's enduring musical legacy. With a dynamic fusion of blues, funk, and rock, each track unveils a different facet of their versatile sound, yet there isn’t a bad song to be heard. Black And Blue, subsequently, remains a must-listen, showcasing the Stones' ability to adapt and experiment while maintaining their timeless rock essence and status as true pioneers within the music industry.

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The Rolling Stones – Aftermath (UK) [Album Review]

Released in 1966, the UK edition of Aftermath, was the fourth studio album from The Rolling Stones and the first to contain all-original compositions as the covers of yesteryear were no longer applicable to a band as well-versed in their sound as The Rolling Stones were at that time. Aftermath (UK), subsequently, flows perfectly within the release structure of their back catalogue as it simultaneously showcases their evolving songwriting abilities and experimentation with emerging musical genres, such as folk and psychedelia.

Newcomers to The Stones may be a little confused as to the UK designation but it’s a little less complicated than you may otherwise expect. The US edition of the album includes several additional tracks not found on the UK release, notably the hit single Paint It Black, and is also the sixth studio release from the English rock band. Aftermath was, after all, released during an era whereby a consistent worldwide release was not routine within the music industry. Each regional arm of a record label would subsequently decide on which songs would be included via their local release, as well as the associated artwork and design. The theory was that they could target a release specifically for their market. In this case, a more succinct runtime was appreciated by US audiences and as a result would have, theoretically, generated additional sales over the UK release.

One must remember that the world was far less connected in the past than it is today and there is certainly logic in that line of thinking. For instance, the cultural differences between the US and the UK, in the 60s, were quite noticeable. The UK was focused more on the counterculture movement, with an emphasis on music and fashion, while the US was focused on civil rights and family-friendly entertainment.

Despite these differences, both editions of Aftermath are worth adding to any respectable record collection but my preferred edition is the UK release, despite the omission of Paint It Black, as I feel the selected songs and sequencing are stronger, even though it has a longer runtime. I also find myself preferring the UK album artwork as the blurred cover art on the US release just isn’t appealing.

Of course, it’s the music that is paramount here and the stereo mix, delivered as a Hi-Res Lossless Apple Music stream, an Apple Digital Master, is thoroughly enjoyable. Yes, it’s a 60s recording and The Rolling Stones have always had a raw sound signature, but the stream is sonically smooth with detail across the entire soundstage that will simply fill you with joy every time you listen to the album. That is, of course, until you listen to the Mono mix via the In Mono collection. Simply take everything I just mentioned and amplify it by a factor of 10 for the Mono mix of Aftermath (UK) is simply magnificent.

I have so much admiration for the mono mix that rather than share with you the stereo version, I’ve created a dedicated playlist of the mono mix recordings, from the aforementioned collection, as it helps to target the specific album as it is otherwise buried in the 10-hour, 186-song, collection as the mono mixes aren’t available as separate albums. It’s a little frustrating, yes, but it prevents several similar, yet different, copies from clogging up the Rolling Stones album listings on Apple Music et al.

Mother’s Little Helper is one of The Stones’ most controversial songs, despite it being a catchy folk-rock tune, the lyrics address the topic of prescription drug abuse. An issue specifically of the 60s, yes, but one that is still applicable, if not moreso, in modern society. Regardless, it’s a great little tune.

Stupid Girl is an excellent song that perfectly highlights the 60s era, from a musical perspective, for it too is controversial. Stupid Girl is largely compelling due to its simple composition but it’s also highly addictive with its driving beat and bluesy guitar riffs, along with Mick Jagger's snarling vocals.

Lady Jane is a gorgeous tune and a standout from Aftermath (UK). Jagger certainly knows how to perform a ballad for it’s one of The Rolling Stones’ greatest recordings with a musical backing that is as stunning as Jagger’s vocal delivery.

Under My Thumb is a song with a catchy and unforgettable melody. Perhaps controversial, due to misogynistic interpretations, Under My Thumb remains a fan favourite because the musicality is strong. Of course, long-time readers will note that I’m a music lover who appreciates the human vocal as an instrument in the mix, rather than a storytelling device, so it isn’t uncommon for the more controversial tunes to go unnoticed in my mind. Hence, I just groove along and thoroughly enjoy the music that I’m hearing. I consider that a gift as I dare say should I acknowledge all song meanings, I likely wouldn’t be as in awe as I am with the music I listen to.

Doncha Bother Me is rough around the edges and sounds more like a demo than a completed recording. Yes, I acknowledge the album was recorded in the 60s, but it is reminiscent of The Stones' earlier works along with the lower production standards. Of course, that sound has become somewhat of a trademark for them and a core sound signature that sets them apart from any other rock band.

Going Home is an epically long song for an era when songs were not expected to exceed the approximate 3-minute length; due to radio playback expectations. Yet, here we are with a song that is thoroughly enjoyable despite its repetitive nature. Of course, Going Home could have been a stellar 3-minute tune, but the 11-minute epic is reminiscent of an impromptu jam session; a good one at that!

Flight 505 is a fast-paced rocker with a catchy chorus, yet it has never truly appealed to me. Yes, Aftermath wouldn’t be the same without it, but it’s one of the poorer songs from this celebrated album.

High And Dry is similar to Flight 505 in that it isn’t overly appealing. Again, it sounds like a demo rather than a fully-fledged recording, but it has too much of a country twang for my liking and simply isn’t strong enough to be a standout tune.

Out Of Time (Version 1) is a melancholic ballad with a memorable melody and introspective lyrics. It’s an interesting contrast. While this is the original mix of the song, an alternative mix was also released on the Flowers album in 1967. I enjoy both renditions of Out Of Time and I subsequently find that I can listen to them interchangeably. There’s also the excellent strings version of the song that appears on their compilation Metamorphosis. However, as much as I enjoy that interpretation, I don’t feel it’s as solid as the earlier mixes.

It’s Not Easy is a thoroughly enjoyable blues-based rock and roll song. Its styling makes me consider it a precursor to just about any punk rock tune.

I Am Waiting is somewhat of an enigma as my mind struggles to determine which musical element it should be connecting with. Is it the guitar strum, the maracas, or the hypnotic vocal track? Things get even more complicated when the drum track kicks in and it’s as if all elements are fighting to be heard but none are specifically driving the direction of the song. Interestingly, that’s part of the strength of the song and while it bemuses me, I Am Waiting is not only one of my favourite tunes from Aftermath, but it’s one of the best The Stones ever recorded.

Take It Or Leave It has a slow melody that will see you toe tapping and head bopping to the rhythm. While it’s unlikely to be anyone’s favourite tune, Take It Or Leave It is musically compelling and I thoroughly enjoy its placement within the sequencing of Aftermath (UK).

Think has an incredibly engaging rhythm and compels me to turn the volume up; what a great tune!

What To Do isn’t a bad song and it encourages me to listen to the album again, but it isn’t a standout. Still, Jagger’s vocal presentation is the highlight here and the musical backing does exactly what it’s supposed to. Interestingly, I’m not sure how I feel about the backing vocals. They work, and sound fantastic, but the barbershop quartet feel is a little too US for a UK band; an interesting aspect considering What To Do was not included on the US release of Aftermath.

Overall, Aftermath (UK) represents a significant milestone in The Rolling Stones' career, showcasing the band's evolution as songwriters and their willingness to experiment with new sounds and genres. While some of the lyrics may be controversial by today's standards, the album remains a classic of the 1960s rock and roll zeitgeist and is a must-listen for any fans of the band or the genre.

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