Got it! But it's the US edition, twice as expensive.

What's the difference between the US and EU-editions?

If you hurry you can still find the 10" blue vinyl single on Amazon UK. I paid £11 for mine at 10am.

'Rockol' (italian magazine)
4,5/5

[www.rockol.it]

Both editions (EU to the right)

It sounds E X C E L L E N T!!!

Quote
KRiffhard
'Rockol' (italian magazine)
4,5/5

[www.rockol.it]

Great review, apart from the fact thet mentions Mick Jones instead of Mick Taylor

Quote
DandelionPowderman
It sounds E X C E L L E N T!!!

Great

I just got one online

Nate

[www.lefigaro.fr]

AVANT-PREMIÈRE - Nous avons écouté leur nouvel album, consacré à des reprises de blues,qui sortira le 2 décembre. Le groupe anglais semble enfin assumer son âge.

Le 29 septembre dernier, Don Was nous dévoilait, en avant-première mondiale, la teneur du premier album studio enregistré par le groupe anglais depuis A Bigger Bang en 2005. Intitulé Blue and Lonesome, il a été gravé à Londres dans le studio de Mark Knopfler. Depuis Aftermath, en 1966, le groupe s'est consacré à bâtir un répertoire original. Sur Blue and Lonesome, Jagger, Richards et Charlie Watts renouent avec leur passé de groupes de reprises blues. Un pas de côté esquissé alors que les Stones étaient en train de compléter des compositions originales.

Les douze titres de l'album proviennent des années 1950 et 1960, avec un accent particulier sur la scène de Chicago de l'époque.
Dès la première écoute, la qualité du jeu d'harmonica de Mick Jagger saute aux oreilles. Keith Richards a un jour déclaré au sujet de son frère ennemi qu'il n'était jamais aussi sincère que lorsqu'il soufflait dans l'instrument. Présent sur la quasi-totalité de l'album, l'harmonica est la vedette incontestée de l'affaire.

Il est rafraîchissant d'entendre les septuagénaires appliqués à reproduire la musique qui les a tant influencés à leurs débuts. L'instrumentation assez réduite (2 guitares, basse, batterie et piano) évoque le son du label Chess, celui de Muddy Waters, Chuck Berry et Howlin Wolf à leurs débuts. La saturation appliquée sur l'ensemble du disque gâte pourtant rapidement l'écoute du disque, rendu artificiel par ce procédé. Le groupe a joué cet album en son direct, au sein d'une même pièce, ce qu'il n'avait pas fait depuis très longtemps.

Un véritable disque de vieux

Peu de standards sur ce disque qui compte plusieurs perles du répertoire de Little Walter, notamment le morceau titre Blue and Lonesome, de Howlin Wolf (deux titres, qui figurent parmi les meilleurs de la sélection), Magic Sam, Eddie Taylor et Otis Rush entre autres. Les Stones sont plus impressionnants sur les morceaux rapides que sur les balades, faute à l'absence de soliste marquant dans leurs rangs. L'apparition d'Eric Clapton à la guitare sur deux morceaux propulse les blues lents vers des sphères que le groupe n'atteint plus jamais depuis le départ de Mick Taylor, en 1974. Le guitar-hero, proche des Stones depuis le début des années 1960, est l'un des deux invités du projet avec le batteur Jim Keltner, crédité pour la première fois sur un de leurs disques.

L'application du groupe rend le disque bien plus sympathique que tout ce qu‘il a produit depuis le correct Voodoo Lounge, en 1994. Concernés et appliqués, les musiciens retrouvent une simplicité qui a fait défaut à certains de leurs albums surproduits, sur lesquels ils semblaient courir après les tendances. En concevant un véritable disque de vieux, Jagger et ses complices semblent faire la paix avec leur héritage. Qui aurait dit, alors qu'ils rendaient hommage à leurs idoles en plein British Blues Boom, qu'ils continueraient à le faire largement après avoir dépassé l'âge de leurs bluesmen préférés?

------------------

Google traduction


September 29, Don Was revealed us , in a world first, the content of the first studio album recorded by British group from A Bigger Bang in 2005. Title Blue and Lonesome, it was etched in the London studio of Mark Knopfler. Since Aftermath, in 1966, the group has devoted itself to building an original repertoire. On Blue and Lonesome, Jagger, Richards and Charlie Watts reconnect with their past blues bands. A side step sketched while the Stones were completing original compositions. The twelve titles of the album originate from the 1950s and 1960s, with particular emphasis on the Chicago scene of the time.
Upon first listen, the quality of harmonica playing of Mick Jagger jumps ears. Keith Richards once said about his enemy brother he was never as sincere as when blowing into the instrument. Present on almost all of the album, the harmonica is the undisputed star of the case.

It is refreshing to hear the seven-year-olds applying to reproduce the music that has so much influenced them in their early days. The relatively small instrumentation (2 guitars, bass, drums and piano) evokes the sound of the Chess label, that of Muddy Waters, Chuck Berry and Howlin 'Wolf in their infancy. The saturation applied on the whole disc spoils quickly listening to the disc, made artificial by this process. The band played this album live, in the same room, which he had not done for a very long time.

A real record of old men

Few standards on this disc with several pearls of Little Walter repertoire, including the title track Blue and Lonesome, from Howlin 'Wolf (two titles, which are among the best of the selection), Magic Sam, Eddie Taylor and Otis Rush between other. The Stones are more impressive on the fast tracks than on the strolls, due to the absence of a soloist scoring in their ranks.

The emergence of Eric Clapton on guitar on two songs propels the slow blues to the spheres that the group never reached since the departure of Mick Taylor in 1974. The guitar hero, near the Stones since the early 1960s, is one of the two guests of the project with drummer Jim Keltner, credited for the first time on one of their records.

Application of the group makes it even nicer drive than anything he has produced since the correct Voodoo Lounge in 1994. Concerned and applied, the musicians found a simplicity that was lacking some of their overproduced albums, on which They seemed to run after the trends. By designing a real old record, Jagger and his accomplices seem to make peace with their inheritance. Who would have said, while paying tribute to their idols in the British Blues Boom, that they would continue to do so largely after the age of their favorite bluesmen ?

***
I'm just a Bad Boy Boogie



Edited 1 time(s). Last edit at 2016-11-25 14:27 by powerage78.

[culturebox.francetvinfo.fr]

Le 2 décembre, les Rolling Stones sortent un nouvel album studio, le premier depuis 11 ans. Blue & Lone­some, un album de reprise de Blues. Douze chansons datant de 1955 à 1967, enregistrées en trois jours au studio British Grove Recording studios à Londres. Nous l’avons écouté en avant-première. Voici 3 bonnes raisons de l’écouter (ou de ne pas l’écouter).

Lundi 21 Novembre, quartier du Panthéon. Une dizaine de journalistes sont convoqués pour écouter en toute discrétion le nouvel album des Stones. Ce n’est pas Alcatraz, mais la privation des téléphones pour éviter tout piratage et la signature d'une déclaration d’embargo donne un petit air de secret au rendez-vous.

1ere raison: 1 er album studio depuis 2005.

Depuis Bigger Band, le 25e album studio sorti en 2005, ils ne s'étaient pas rassemblés en studio pour enregistrer. Pourquoi l’ont-ils fait, peut-on parfois se demander à l’écoute de cet opus blues ? Un désir de retrouver les frissons de l’adolescence sûrement. Quand on n’a plus d’inspiration, il faut revenir aux basiques instincts de la musique du Sud, bien sûr. Entre deux coups de gueule et acerbes remarques Mick and Keith se sont retrouvés, à l’ancienne, autour d’un micro et presqu’en une seule prise ont enregistrés 12 chansons. Une remarque : c'est de saison mais c'est bien le 3e homme, Charlie Watts, élégant et puissant, subtil patron du beat qui remporte la mise. Il est le meilleur de cette session, et c'est lui qui clôt l'album d'un cristallin coup de cymbale : la messe est dite.


2e raison : le blues, l’acte de naissance des Stones

1960 : Keith et Mick se retrouvent sur les quais de la gare de Darfort. Mick, sous le bras porte deux albums : un Chuck Berry et un Muddy Waters. Le destin des deux adolescents est scellé aux sillons des vinyles de Blues. Rollin’Stone, une chanson de Muddy deviendra le nom du groupe. Dans Blue and Lonesome, l’hommage est donc rendu aux ancêtres de cette musique. Eddy Taylor, Jimmy Reed, Wilie Dixon tous du Mississipi, et les accords glissants de Keith sonnent comme dans le Sud. Et quand Eric Clapton traverse le couloir du studio, où lui aussi enregistre, et rejoint le groupe, on les imagine retrouvant leurs airs de gamins fondus de cette musique.


3e raison : L’harmonica méritait cet hommage.

L’album s’appelle donc Blue and Lonesome. C’est le titre d’une chanson de Little Walter (1959). Le personnage de Little Walter ne peut que plaire à Mick Jagger. Little Walter est un musicien noir. Entre les années 30 et 60, il a deux qualités : il révolutionne l’harmonica et en joue comme un dieu, et c’est un bagarreur de renom si bien qu’il meurt en 1968 à l’issu d’une querelle. A l’écoute de l’album, si parfois on doute de la voix de Jagger, à l’harmonica il emporte l’album vers la Louisiane.

Conclusion : Un album à ranger dans sa collection de vinyles des Stones. Pour le marketing d'abord, la langue est devenue bleue sur la pochette de Blue and Lonesome, c'est une première et ce sera culte. Pour l'oreille, préférez Confessin' the blues par Little Walter en 1958 et pour l'avenir, patientons,les Stones ont promis une nouvelle tournée en 2017. Ils ont revisé avec cet album, leurs classiques.

---------------

Google traduction

On December 2, the Rolling Stones released a new studio album, the first for 11 years. Blue & Lonesome, a cover album of Blues. Twelve songs dating from 1955 to 1967, recorded in three days at the studio British Grove Recording studios in London. We listened to him in preview. Here are 3 good reasons to listen (or not listen).

Monday, November 21, district of the Pantheon. A dozen journalists are summoned to listen discreetly to the new album of the Stones. This is not Alcatraz, but the deprivation of phones to avoid piracy and the signing of an embargo statement gives a little air of secrecy to the appointment.

1st reason: 1st studio album since 2005.
Since Bigger Band, the 25th studio album released in 2005, they had not gathered in the studio to record. Why did they do it, can we sometimes ask ourselves to listen to this opus blues? A desire to regain the thrill of adolescence surely. When one has no more inspiration, one must return to the basic instincts of the music of the South, of course. Between two mouth blows and acerbic remarks Mick and Keith found themselves, in the old, around a microphone and almost in a single take recorded 12 songs. A remark: it is season but it is indeed the 3rd man, Charlie Watts, elegant and powerful, subtle boss of the beat who wins the stake. It is the best of this session, and it is he who closes the album of a crystalline cymbal: the mass is said.


2nd reason: the blues, the birth certificate of the Stones
1960: Keith and Mick meet on the docks of the station of Darfort. Mick, under his arm carries two albums: a Chuck Berry and a Muddy Waters. The fate of the two teenagers is sealed in the furrows of Blues' vinyls. Rollin'Stone, a Muddy song will become the band's name. In Blue and Lonesome, homage is thus paid back to the ancestors of this music. Eddy Taylor, Jimmy Reed, Wilie Dixon all of Mississippi, and Keith's slippery chords sound like in the South. And when Eric Clapton crosses the corridor of the studio, where he too registers, and joins the band, we imagine them rediscovering their airs of kids melted of this music.


3rd reason: The harmonica deserved this homage.
The album is called Blue and Lonesome. It is the title of a song by Little Walter (1959). The character of Little Walter can only please Mick Jagger. Little Walter is a black musician. Between the 30s and 60s, he has two qualities: he revolutionizes the harmonica and plays it like a god, and he is a renowned brawler so that he died in 1968 after a quarrel. Listening to the album, if sometimes we doubt Jagger's voice, to the harmonica he takes the album to Louisiana.

Conclusion: An album to store in his record collection of Stones. For marketing first, the language has become blue on the cover of Blue and Lonesome, it is a first and it will be cult. For the ear, prefer Confessin 'the blues by Little Walter in 1958 and for the future, let's wait, the Stones promised a new tour in 2017. They revised with this album, their classics.

***
I'm just a Bad Boy Boogie

<The character of Little Walter can only please Mick Jagger>

And Keith Richards

Keith talked A LOT of Little Walter in his documentary film Under The Influence.

[www.lepoint.fr]

PAR ANNE-SOPHIE JAHN

Publié le 24/11/2016 à 16:52 | Le Point.fr

On a écouté en avant-première Blue & Lonesome, l'album de reprises de blues par les papes du rock. Verdict ? Pas de quoi se rouler par terre.

Tout avait pourtant si bien commencé. Dès le premier morceau (« Just Your Fool », une reprise de Little Walter, le bluesman et harmoniciste de génie), Keith Richards et Ronnie Wood font swinguer les cordes de leurs guitares, la batterie de Charlie Watts rythme notre léger déhanché, la voix de Mick Jagger traîne délicieusement sur les « oo » de fool. Quand la classe anglaise rencontre le blues américain… On en était tout émoustillé. D'autant que le dernier album studio des Stones, A Bigger Bang, qui remonte à plus d'une décennie, ne nous avait pas laissé un souvenir impérissable…

2 minutes 16 plus tard, le deuxième morceau nous fait basculer dans l'horreur. Certes, l'orchestration flamboyante des Stones apporte un twist rock'n'roll à ces chansons blues traditionnellement plus rugueuses. Mais Mick Jagger croasse comme un corbeau (un funeste présage pour les septuagénaires ?). « Baby please come back home »[1], supplie-t-il d'une voix exagérément grave. Pourtant, personne n'a envie de rentrer chez lui. Les reprises de Howlin' Wolf, Little Walter, Magic Sam, Little Johnny Taylor, Eddie Taylor s'enchaînent. Et on se dit qu'on préférerait écouter les enregistrements originaux de ces monstres du blues qui les ont tellement inspirés, plutôt que les cris égomaniaques et faussement habités de Jagger. Depuis « Midnight Rambler » (extrait de leur superbe album Let It Bleed sorti en 1969), le chanteur aux suaves déhanchés s'est clairement amélioré à l'harmonica (les notes virevoltent maintenant dans l'air, c'est magique), mais il a perdu sa voix. Little Walter lui-même n'avait pas un timbre exceptionnel. Là, c'est carrément désagréable. Ça sent la poussière, et pas celle de la route 66.

Si ce n'était pas les Stones


On avait pourtant très envie d'aimer ce 26e album, même si pour la première fois dans l'histoire du groupe, il n'est constitué que de reprises (ils sont entrés au Grove Studio pour enregistrer des chansons originales, mais l'inspiration n'était pas au rendez-vous). Les Stones ont toujours été largement influencés par le gospel, le R&B, le blues. Dès leurs débuts, il y a plus d'un demi-siècle, on les accuse d'appropriation culturelle et de faire de la musique de Noirs chantée par des Blancs. Leur nom lui-même est une référence à la chanson « Rollin'Stone » de Muddy Waters. L'hommage est donc légitime, la sélection des reprises est pointue. Et puis Eric Clapton (71 ans), qui était dans les parages pour enregistrer son propre album, a gratouillé la guitare de Keith sur deux chansons.

Sauf qu'arrivé à la moitié du disque, on se demande : si ce n'était pas les Stones, aurait-on tenu si longtemps en compagnie des papis ? Et puis vient « Hate To See You Go ». Un, deux, trois, quatre, les rythmes de Little Walter sont irrésistibles. Les épaules frémissent. La plante de pieds s'excite. Jagger retrouve un souffle sexy dans la voix, un quasi-gémissement qui font oublier ses 74 ans. Jusqu'au bout du disque, la magie opère, les mots claquent dans sa gigantesque bouche et les percussions traînantes sont râpeuses, délicieuses dans la reprise de « Little Rain » de Jimmy Reed. À la fin du dernier morceau (une reprise de Willie Dixon, « I Can't Quit You Baby »), on entend le groupe applaudir Clapton. Enregistré en trois jours, l'album a décidément un esprit live. Jagger pousse de petits « youh ». On est loin d' « Emotional Rescue », mais ça a du chien.

-------------------

Google traduction

We listened to a preview of Blue & Lonesome, the album of blues covers by the popes of rock. Verdict? Not enough to roll on the floor.

Everything had started so well. From the first track ( "Just Your Fool," a cover of Little Walter, bluesman and engineering harmonica), Keith Richards and Ronnie Wood are swinging the strings of their guitars, drums Charlie Watts pace our lightweight lame, voice of Mick Jagger delightfully drags on the "oo" to fool. When the English class meets the American blues ... It was all titillated. Especially since the last studio album of the Stones, A Bigger Bang, which dates back more than a decade, had not left us a lasting memory ...

2 minutes later, the second piece makes us switch to horror. True, the Stones' flamboyant orchestration brings a rock'n'roll twist to these traditionally rougher blues songs. But Mick Jagger croaks like a raven (a fatal omen for the septuagenarians?). "Baby please come back home" [1], he begs in an exaggeratedly grave voice. Yet no one wants to go home. Releases of Howlin 'Wolf, Little Walter, Magic Sam, Little Johnny Taylor and Eddie Taylor follow. And we say we would prefer to listen to the original recordings of those blues monsters that inspired them so much, rather than the creepy and falsely inhabited cries of Jagger. Since "Midnight Rambler" (from their superb album Let It Bleed released in 1969), the singer with sweet hip-swaying has clearly improved on harmonica (notes now twirl in the air, it's magic), but He lost his voice. Little Walter himself did not have an exceptional stamp. There, it is downright unpleasant. It smells of dust, and not of Route 66.

If it was not the Stones


Yet we wanted to love this 26th album, even if for the first time in the history of the band, it is made only of covers (they entered the Grove Studio to record original songs, but the inspiration was not at the rendez-vous). The Stones have always been heavily influenced by gospel, R & B, and blues. From their beginnings more than half a century ago, they are accused of cultural appropriation and of making Black music sung by whites. Their name itself is a reference to the song "Rollin'Stone" by Muddy Waters. The tribute is therefore legitimate, the selection of the covers is pointed. And Eric Clapton (71), who was on hand to record his own album, Keith scratch his guitar on two songs.

Except that arrived at the half of the disc, one wonders: if it were not the Stones, would it have been held so long in the company of the papis? And then comes "Hate To See You Go". One, two, three, four, Little Walter's rhythms are irresistible. Shoulders quiver. The soles of feet excites. Jagger finds a sexy breath in his voice, a quasi-groan that make him forget his 74 years. Until the end of the disc, the magic operates, the words slam in its gigantic mouth and the dragging percussions are raspy, delicious in the cover of Jimmy Reed's "Little Rain". At the end of the last piece (a cover of Willie Dixon, "I Can not Quit You Baby", we hear the group applauding Clapton. Recorded in three days, the album definitely has a lively spirit. Jagger grows small "youh". We are far from "Emotional Rescue", but it has charm.

***
I'm just a Bad Boy Boogie



Edited 1 time(s). Last edit at 2016-11-25 14:37 by powerage78.

Still a few copies of ride em on down available on amazon.

Nate

Rolling Stones pay tribute to their Chicago blues school on 'Blue & Lonesome'


The Rolling Stones, from left, Ronnie Wood, Keith Richards, Mick Jagger and Charlie Watts attend the opening night party for "Exhibitionism" at Industria on Tuesday, Nov. 15, 2016, in New York. (Evan Agostini/Invision/AP)

By Greg Kot
November 25, 2016

As the final song on the new Rolling Stones album ends, an escalating slow-burn on Willie Dixon's "I Can't Quit You Baby," Charlie Watts' drums rumble amid the buzz and hum of the amplifiers. A raspy voice exults during the fade — "Yeah, boys!" — followed by laughter.

In the late stages of a career that spans more than 50 years, the Stones have just about run out of surprises. But the Chicago blues they studied as kids growing up in London will always be with them, and it's only fitting that the forthcoming "Blue & Lonesome" (Interscope), due out Dec. 2, is dedicated to that lifelong devotion. It marks the first Stones studio album in 11 years, and features all cover versions of songs to which the band owes its very existence.

In October 1961, Keith Richards and Mick Jagger bumped into one another at a train station outside London. Jagger had a collection of Chess Records albums imported from Chicago under his arm, and Richards was intrigued that this casual acquaintance turned out to be a blues acolyte just like he was. Less than a year later they played their first gig together at the Marquee Club in London as the Rollin' Stones, named after a Muddy Waters' song. They were students as much as musicians.

Jagger was learning how to play blues harp by religiously listening to the Chess albums of Little Walter, and Richards and his roommate, Stones guitarist Brian Jones, would huddle next to a speaker of their cheap little record player and listen to the recordings of Waters or Jimmy Reed. They were fascinated at how the bands of these Chicago blues giants often sounded like a single instrument. As Richards wrote in his 2010 autobiography, "Life": "You're looking to distort things, basically. … the sounds just melt into one another and you've got that beat behind it, and the rest of it just has to squirm and roll its way through."

In the beginning, the Stones wanted nothing more than to be a blues band. And for a long time, they were — albeit one that realized it could never, ever be as good as the musicians who schooled them from overseas. Dixon once told the Tribune that he remembered playing Piccadilly Square in London during the early '60s. The callow Jagger, Richards and Jones were in the audience. "(These kids would) tell us, 'Look, man, we got a little group and we want to do some of your songs,'" Dixon said. "We put a lot of songs on tape for them ... and then some years later, somebody played me a record of (Dixon's classic) 'Little Red Rooster' and told me some fellows called the Rolling Stones had done that song out of England. ... (But) back then they were just little kids, no hair on their faces or anything, so how would I remember them?"

The Stones early albums were stuffed with cover versions of American blues and soul music, and as soon as the quintet became popular enough to tour America in the late spring of 1964, they beelined to Chess studios in Chicago for a two-day recording session. There they were greeted by the mighty Waters himself, who, according to the oft-repeated story, was slapping a coat of paint on the studio walls. Waters had no idea who these long-haired kids were, but helped them unload their gear anyway. While there, the Stones recorded the master's "I Can't Be Satisfied," which appeared on their second album, "Rolling Stones No. 2," while Dixon's "Little Red Rooster" wound up on its U.K. companion, "Rolling Stones Now!"

The Stones early recordings — newly reissued on the boxed set "The Rolling Stones in Mono" (ABKCO) — affirm how much the Stones borrowed from the Chicago blues: the songs, the mix of jazzy swing and backstreet menace, even the recording engineer, Ron Malo. All told the Stones recorded more than two dozen songs in three visits to Chess studios in 1964-65, which they sprinkled across several albums. Long afterward, the Stones continued to record blues covers and perform them in concert. But they'd never devoted an entire album to their obsession — until now.

"Blue and Lonesome" came out of a three-day session in London last December after the recording of a new studio album of Stones originals stalled. The Stones decided to warm up with the music they know best and ended up recording an entire album of songs that are part of their musical DNA. The music was largely cut live on the floor of Mark Knopfler's British Grove Studios in London with producer Don Was, and its unvarnished tone approaches the feel of the tracks the band cut at Chess 52 years ago.

In the intervening decades, the Stones have learned a few things about an art form created by Southern blacks who migrated North in the middle of the last century. Jagger was often self-deprecating about his blues-inspired vocals, fully aware that there was no way he could possibly match the intensity or experience of the singers whose personal hardships informed the way they performed. As a result, he would often put his own outlandish spin on his blues-inspired songs, exaggerating and mugging, especially in concert. The Stones were never as academic or self-serious as some of the other white British blues bands, led by Alexis Korner and Cyril Davies.

But the Jagger on "Blue & Lonesome" is 73, three years older than Waters was when he died in 1983, and Richards is 72, Watts 75 and guitarist Ronnie Wood 69. In a sense, the Stones have become their elders, and their seasoning as a first-rate blues band is evident.

What's more, the new album upends the Jagger narrative that has taken hold in recent decades. The singer has been cast as the pin cushion for a lot of the Stones' musical indifference since the 1970s watershed "Some Girls" — he was ridiculed by Richards in "Life," and is generally seen as the Stones' preening celebrity and resident businessman, in opposition to the more "authentic" Richards, the quintessential rock 'n' roll outlaw. If so, "Blue & Lonesome" is Jagger's vindication.

When Jagger sings "Baby, please come on home to me" on Little Walter's title song, his voice breaks on "please" — a yowl from the gut that a more precious singer might've wanted to retake. He shades the lines on Magic Sam's "All of Your Love" with eroticism or wistfulness in the way he stretches or compresses the syllables. For Lightnin' Slim's "Hoo Doo Blues" he brings a more subdued, sinister tone to the thick, swampy groove. His harp playing turns downright nasty — that's the only way to describe the drone he blasts out over a relentless Watts drum groove on another Little Walter track, "Hate to See You Go."

As for the band itself, it lives by Richards' law of the blues: "you're looking to distort things … the sounds just melt into one another and you've got that beat behind it." Watts' crash cymbal ratchets up the chaos on Howlin' Wolf's unforgiving "Commit a Crime" — it's the kind of song played in a bar where everyone is carrying a switchblade for their own protection. "Just Your Fool" turns the mix of Jagger's harp and the rhythm guitars of Wood and Richards into a freight train, ornamented by Chuck Leavell's piano fills, straight out of the Otis Spann playbook.

This is not a pretty or comforting album. Even Eric Clapton gets in the spirit. Clapton's polished takes on his beloved blues have made most of his recent albums forgettable, but his solo on Little Johnny Taylor's "Everybody Knows About My Good Thing" turns the song's air of paranoia into a five-alarm fire. The arrangement drops off a cliff, and Jagger re-enters. Like the savvy blues disciple he is, he knows not to try to top Clapton's moment. So instead he underplays it, growling and purring over the subtle organ and piano backdrop.

"Call me a plumber, darlin', there must be a leak in my drain," he sings. You can almost see his eyes rolling at the delicious double entendre in the Miles Grayson-Lermon Horton composition. It's the kind of performance that testifies eloquently to the mystery and permanence of an art form that will outlast its makers and the bands like the Stones who not only embraced and learned from it, but endured long enough to eventually embody it themselves.

[www.chicagotribune.com]

Quote
powerage78
[www.lefigaro.fr]

------------------

Google traduction


September 29, Don Was revealed us , in a world first, the content of the first studio album recorded by British group from A Bigger Bang in 2005. Title Blue and Lonesome, it was etched in the London studio of Mark Knopfler. Since Aftermath, in 1966, the group has devoted itself to building an original repertoire. On Blue and Lonesome, Jagger, Richards and Charlie Watts reconnect with their past blues bands. A side step sketched while the Stones were completing original compositions. The twelve titles of the album originate from the 1950s and 1960s, with particular emphasis on the Chicago scene of the time.
Upon first listen, the quality of harmonica playing of Mick Jagger jumps ears. Keith Richards once said about his enemy brother he was never as sincere as when blowing into the instrument. Present on almost all of the album, the harmonica is the undisputed star of the case.

It is refreshing to hear the seven-year-olds applying to reproduce the music that has so much influenced them in their early days. The relatively small instrumentation (2 guitars, bass, drums and piano) evokes the sound of the Chess label, that of Muddy Waters, Chuck Berry and Howlin 'Wolf in their infancy. The saturation applied on the whole disc spoils quickly listening to the disc, made artificial by this process. The band played this album live, in the same room, which he had not done for a very long time.

A real record of old men

Few standards on this disc with several pearls of Little Walter repertoire, including the title track Blue and Lonesome, from Howlin 'Wolf (two titles, which are among the best of the selection), Magic Sam, Eddie Taylor and Otis Rush between other. The Stones are more impressive on the fast tracks than on the strolls, due to the absence of a soloist scoring in their ranks.

The emergence of Eric Clapton on guitar on two songs propels the slow blues to the spheres that the group never reached since the departure of Mick Taylor in 1974. The guitar hero, near the Stones since the early 1960s, is one of the two guests of the project with drummer Jim Keltner, credited for the first time on one of their records.

Application of the group makes it even nicer drive than anything he has produced since the correct Voodoo Lounge in 1994. Concerned and applied, the musicians found a simplicity that was lacking some of their overproduced albums, on which They seemed to run after the trends. By designing a real old record, Jagger and his accomplices seem to make peace with their inheritance. Who would have said, while paying tribute to their idols in the British Blues Boom, that they would continue to do so largely after the age of their favorite bluesmen ?

Thanks powerage for the google translation!

"It is refreshing to hear the seven-year-olds applying to reproduce the music that has so much influenced them in their early days".


The writer seems to somewhat contradict himself below, maybe due to the translation?
He seems to say the fast tracks are better due to no solos, but then says the slower tunes are the best because of the solos.

"The Stones are more impressive on the fast tracks than on the strolls, due to the absence of a soloist scoring in their ranks".

"The emergence of Eric Clapton on guitar on two songs propels the slow blues to the spheres that the group never reached since the departure of Mick Taylor in 1974".

At any rate, I agree with the Mick Taylor comment.

"...the musicians found a simplicity that was lacking some of their overproduced albums, on which They seemed to run after the trends".

Hallelulujah!

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Quote
powerage78
[www.lepoint.fr]

PAR ANNE-SOPHIE JAHN


-------------------

Google traduction

We listened to a preview of Blue & Lonesome, the album of blues covers by the popes of rock. Verdict? Not enough to roll on the floor.

Everything had started so well. From the first track ( "Just Your Fool," a cover of Little Walter, bluesman and engineering harmonica), Keith Richards and Ronnie Wood are swinging the strings of their guitars, drums Charlie Watts pace our lightweight lame, voice of Mick Jagger delightfully drags on the "oo" to fool. When the English class meets the American blues ... It was all titillated. Especially since the last studio album of the Stones, A Bigger Bang, which dates back more than a decade, had not left us a lasting memory ...

2 minutes later, the second piece makes us switch to horror. True, the Stones' flamboyant orchestration brings a rock'n'roll twist to these traditionally rougher blues songs. But Mick Jagger croaks like a raven (a fatal omen for the septuagenarians?). "Baby please come back home" [1], he begs in an exaggeratedly grave voice. Yet no one wants to go home. Releases of Howlin 'Wolf, Little Walter, Magic Sam, Little Johnny Taylor and Eddie Taylor follow. And we say we would prefer to listen to the original recordings of those blues monsters that inspired them so much, rather than the creepy and falsely inhabited cries of Jagger. Since "Midnight Rambler" (from their superb album Let It Bleed released in 1969), the singer with sweet hip-swaying has clearly improved on harmonica (notes now twirl in the air, it's magic), but He lost his voice. Little Walter himself did not have an exceptional stamp. There, it is downright unpleasant. It smells of dust, and not of Route 66.

If it was not the Stones


Yet we wanted to love this 26th album, even if for the first time in the history of the band, it is made only of covers (they entered the Grove Studio to record original songs, but the inspiration was not at the rendez-vous). The Stones have always been heavily influenced by gospel, R & B, and blues. From their beginnings more than half a century ago, they are accused of cultural appropriation and of making Black music sung by whites. Their name itself is a reference to the song "Rollin'Stone" by Muddy Waters. The tribute is therefore legitimate, the selection of the covers is pointed. And Eric Clapton (71), who was on hand to record his own album, Keith scratch his guitar on two songs.

Except that arrived at the half of the disc, one wonders: if it were not the Stones, would it have been held so long in the company of the papis? And then comes "Hate To See You Go". One, two, three, four, Little Walter's rhythms are irresistible. Shoulders quiver. The soles of feet excites. Jagger finds a sexy breath in his voice, a quasi-groan that make him forget his 74 years. Until the end of the disc, the magic operates, the words slam in its gigantic mouth and the dragging percussions are raspy, delicious in the cover of Jimmy Reed's "Little Rain". At the end of the last piece (a cover of Willie Dixon, "I Can not Quit You Baby", we hear the group applauding Clapton. Recorded in three days, the album definitely has a lively spirit. Jagger grows small "youh". We are far from "Emotional Rescue", but it has charm.

Thanks again for the translation powerage - this one was a bit more brutal.

"Releases of Howlin 'Wolf, Little Walter, Magic Sam, Little Johnny Taylor and Eddie Taylor follow. And we say we would prefer to listen to the original recordings of those blues monsters that inspired them so much, rather than the creepy and falsely inhabited cries of Jagger".

I agree with preferring to listen to the originals, but to call Mick's singing 'creepy and falsely inhabited cries' is downright nasty.
Ouch.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Quote
DandelionPowderman
It sounds E X C E L L E N T!!!

Ho Ho Ho, I got a feeling 'Blue and Lonesome' will be blasting thru this house
December as I'm packing it to move us to a new one! Cannot wait/ appropriate !

"The Stones are more impressive on the fast tracks than on the slower ones, due to the absence of a remarkable soloist in the band".

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Hairball

Quote
powerage78
[www.lefigaro.fr]

------------------

Google traduction


September 29, Don Was revealed us , in a world first, the content of the first studio album recorded by British group from A Bigger Bang in 2005. Title Blue and Lonesome, it was etched in the London studio of Mark Knopfler. Since Aftermath, in 1966, the group has devoted itself to building an original repertoire. On Blue and Lonesome, Jagger, Richards and Charlie Watts reconnect with their past blues bands. A side step sketched while the Stones were completing original compositions. The twelve titles of the album originate from the 1950s and 1960s, with particular emphasis on the Chicago scene of the time.
Upon first listen, the quality of harmonica playing of Mick Jagger jumps ears. Keith Richards once said about his enemy brother he was never as sincere as when blowing into the instrument. Present on almost all of the album, the harmonica is the undisputed star of the case.

It is refreshing to hear the seven-year-olds applying to reproduce the music that has so much influenced them in their early days. The relatively small instrumentation (2 guitars, bass, drums and piano) evokes the sound of the Chess label, that of Muddy Waters, Chuck Berry and Howlin 'Wolf in their infancy. The saturation applied on the whole disc spoils quickly listening to the disc, made artificial by this process. The band played this album live, in the same room, which he had not done for a very long time.

A real record of old men

Few standards on this disc with several pearls of Little Walter repertoire, including the title track Blue and Lonesome, from Howlin 'Wolf (two titles, which are among the best of the selection), Magic Sam, Eddie Taylor and Otis Rush between other. The Stones are more impressive on the fast tracks than on the strolls, due to the absence of a soloist scoring in their ranks.

The emergence of Eric Clapton on guitar on two songs propels the slow blues to the spheres that the group never reached since the departure of Mick Taylor in 1974. The guitar hero, near the Stones since the early 1960s, is one of the two guests of the project with drummer Jim Keltner, credited for the first time on one of their records.

Application of the group makes it even nicer drive than anything he has produced since the correct Voodoo Lounge in 1994. Concerned and applied, the musicians found a simplicity that was lacking some of their overproduced albums, on which They seemed to run after the trends. By designing a real old record, Jagger and his accomplices seem to make peace with their inheritance. Who would have said, while paying tribute to their idols in the British Blues Boom, that they would continue to do so largely after the age of their favorite bluesmen ?

Thanks powerage for the google translation!

"It is refreshing to hear the seven-year-olds applying to reproduce the music that has so much influenced them in their early days".


The writer seems to somewhat contradict himself below, maybe due to the translation?
He seems to say the fast tracks are better due to no solos, but then says the slower tunes are the best because of the solos.

"The Stones are more impressive on the fast tracks than on the strolls, due to the absence of a soloist scoring in their ranks".

"The emergence of Eric Clapton on guitar on two songs propels the slow blues to the spheres that the group never reached since the departure of Mick Taylor in 1974".

At any rate, I agree with the Mick Taylor comment.

"...the musicians found a simplicity that was lacking some of their overproduced albums, on which They seemed to run after the trends".

Hallelulujah!

***
I'm just a Bad Boy Boogie

Ride 'Em On Down - also available as Download:

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Each & every one of these reviews [good & bad alike] is complete drivel !

[Just my opinion & review of the reviews you understand ]

Quote
DandelionPowderman
It sounds E X C E L L E N T!!!

Think the mastering for vinyl will be better than for CD?

Did I really just ask that?

This LP was recorded in December of 2015...

Doesn't anyone think it's weird? They recorded it last December and what, they decided in May or whenever that it would make an album?

What the hell. Why do they wait so long!!??

It is vinyl (blue, of course) that I'm listening to.

Might only be me, but I thought the EU-edition sounded more trebly and less brickwalled

Quote
DandelionPowderman
It is vinyl (blue, of course) that I'm listening to.

Might only be me, but I thought the EU-edition sounded more trebly and less brickwalled

Very cool ... but what is on the b-side?

The Rolling Stones 'Blue & Lonesome' review: Mick, Keith and the boys have never sounded more at home

BY DARRYL STERDAN, POSTMEDIA NETWORK
FIRST POSTED: FRIDAY, NOVEMBER 25, 2016 11:59 AM EST | UPDATED: FRIDAY, NOVEMBER 25, 2016 12:28 PM EST

Turns out sometimes you can get what you want. And what you need.

For Rolling Stones fans and blues lovers, both of those wishes come true on the band’s much-anticipated, long-awaited new studio album Blue & Lonesome. Slated for release Dec. 2, this collection of vintage blues covers is the band’s 23rd or 25th album (depending on who’s counting), their first since 2005’s A Bigger Bang, and — more importantly — their least forced and most enjoyable album in just about forever.

Why? Who knows. Maybe it’s because Mick Jagger and Keith Richards didn’t have to grind out yet another batch of new material that couldn’t possibly live up to their past glories. Maybe their recent touring schedule has rekindled their enthusiasm while scraping just enough rust off their magnificently loose chops. Or maybe everybody’s just getting along right now. Whatever the case, Blue & Lonesome — co-produced with Don Was — finds the World’s Greatest Rock ’n’ Roll Band revisiting their blues-jam roots, balancing the unadulterated joy of youth against the skill and understatement of experience.

The Set List

Over the decades, the Stones have already covered scores of Chicago and Delta classics. Wisely, they cast a wider net this time, skipping the Muddy Waters and Robert Johnson standards for deeper cuts and obscurities penned and/or performed by the likes of Little Walter, Lightnin’ Slim, Eddie Taylor, Magic Sam and old pal Howlin’ Wolf. Sorry, Muddy.

The Authenticity


Intentionally or otherwise, the band often gave covers a musical makeover in their early days, updating timeless classics with bouncier beats, smoother melodies and other pop-chart elements. Not this time: Everything here is rendered with unvarnished grit and old-school authenticity. Bottom line: There’s no neo in these blues.

Mick’s Harmonica

Jagger always manages to pull out his harp at least once per album, but this time it’s ever-present, carving out space on pretty much every cut on the disc. And generally improving them. Give Mick credit: Either he’s been practising, or he’s a way better harmonica player than he’s ever been given credit for. Then again, at age 73, he oughta be.

Keith & Ronnie Wood’s Telepathy

Make all the ‘new guitarist’ jokes you want: Truth is, after more than 40 years of service, 69-year-old Woody has basically become an extension of 72-year-old Keef (and vice versa). Their interplay on these songs is so seamless and sympatico it’s occasionally hard to tell where one stops and the other starts. Fingers crossed that Ronnie makes probation.

Charlie Watts

If Keith is the soul of the Stones, Watts is the heart. And the 75-year-old drummer is firmly in his jazzy comfort zone here, driving these tracks with his swinging bounce and loose, in-the-pocket economy. When he isn’t cracking his snare and thwacking his beloved Chinese crash cymbal for all it’s worth, that is.

Slowhand

Who better to guest on a blues album than Eric Clapton? Slowhand was reportedly recording his I Still Do album in the other half of Mark Knopfler’s British Grove Studios while the Stones were tracking, and popped over to contribute some typically tasty fretwork on two cuts. Why they stopped at two is a mystery.

The Closure

Perhaps nothing sums up Blue & Lonesome better than the words of T.S. Eliot: “We shall not cease from exploration / And the end of all our exploring / Will be to arrive where we started / And know the place for the first time.” After more than half a century, the Stones have come full circle. And they’ve never sounded more at home.

[www.ottawasun.com]

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LeonidP

Quote
DandelionPowderman
It is vinyl (blue, of course) that I'm listening to.

Might only be me, but I thought the EU-edition sounded more trebly and less brickwalled

Very cool ... but what is on the b-side?

Nothing.

Quote
DandelionPowderman

Quote
LeonidP

Quote
DandelionPowderman
It is vinyl (blue, of course) that I'm listening to.

Might only be me, but I thought the EU-edition sounded more trebly and less brickwalled

Very cool ... but what is on the b-side?

Nothing.

strange song title, but can't wait to hear it!

.... just kidding of course

There's really nothing on the other side? That's stupid!

Quote
GasLightStreet
There's really nothing on the other side? That's stupid!

Who cares about a vinyl single nowadays? We're on 2006 not 1966.
Its a collector item, priced very high to collect easy money from vinyl fans.