Tomorrow will be the first listening party at Universal Music Mexico and I won my pass to get in!!!

I can understand Keith's point about legacy - it's not up to them, they're in it.

Still going.

Unlike fans like us that go over and over and through and through whatever about SOUP or BLUE etc, the Stones don't care about, say, their 1970s output the way us fans do.

Keith's concern right now is 2023, not 1973 or 1983.

It's not remarkable, exactly, because they've never stopped, just had a pause here and there (yeah I know). As soon as it's done, it's another 'oh'.

That's how it is. Another year, another studio, another album.

Just like all other artists, they do what they do.

I love it! What took so long? Please don’t wait that long again! Bringing in this cat Andrew Watt was a good move.

I think the guitars sound up front and great on the rockers. It usually takes me a few listens to get attached to their new music, but several of these just grab me on the first listen, most of em actually. Nice hearing Mick and Keith signing together again too. Macca’s fuzzy bass is really cool. Guests are all a nice plus, from Gaga to Benmont. “Mess it Up” is a nice 2023 Rock song with kind of a pop spin, cool about Bill and Charlie being together…. And in conclusion…”sure enough they are Rollin Stone(s)”

I also think Mick didn't over sing or over pronounce as he has on other things the past couple decades, I thought he did a great job.

Hope they play more than 2 live next summer.

CHELSKEITH



Edited 1 time(s). Last edit at 2023-10-18 08:27 by MizzAmandaJonez.

At this point in your career (and at that age) i had hoped for a fresh-sounding, eclectic and really catchy album. Nothing more. And you have satisfied me! Thank you old bastards!!!

PS: And although I don't like to make comparisons with past albums, i feel the same positive vibe as "Emotional Rescue", which is one of my favorite albums. I think that ER is the only album with which a comparison can be made.



Edited 2 time(s). Last edit at 2023-10-18 09:02 by HardRiffin.

Don't think it was posted here but the Mojo article is in the SH thread and it has a few "nuggets", like apparently Don Was standing up the Stones in September 2022 in NY so they had to get Watt! Seems odd since Mick had more or less enlisted him during the summer. Also Jordan getting completely out of line on how Charlie played towards the end and also how the album was recorded and that he wasn't happy when Watt showed up!

--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

Sorry if this has been posted (there's quite a few pages to trawl through!) but is there a definitive list of who plays what on each track of the new album?

thanks

Quote
GasLightStreet

Keith's concern right now is 2023.

Just like all other artists, they do what they do.

I'm with you .... 2023 is where we all are, enjoy it

Here's MOJO 12-2023:







[www.PressReader.com]

Quote
Bashlets
spin has never liked the stones

A very rare exception in the midst of a press on its knees in front of the Stones (the latest album being better than the previous one, and in any case the best since TY or SG).
The Stones have nothing to complain about from the media; their longevity is a treasure trove of indulgence. And what's more, they're fashionable. Not a working-class band.

***
I'm just a Bad Boy Boogie

-



Edited 2 time(s). Last edit at 2023-10-18 14:38 by EasterMan.

Quote
powerage78

Quote
Bashlets
spin has never liked the stones

A very rare exception in the midst of a press on its knees in front of the Stones (the latest album being better than the previous one, and in any case the best since TY or SG).
The Stones have nothing to complain about from the media; their longevity is a treasure trove of indulgence. And what's more, they're fashionable. Not a working-class band.

Being an exception doesn't make you right.You can still sound like an idiot, and be the exception. So no kudos to Spin, I'd say.

Quote
HardRiffin
At this point in your career (and at that age) i had hoped for a fresh-sounding, eclectic and really catchy album. Nothing more. And you have satisfied me! Thank you old bastards!!!

PS: And although I don't like to make comparisons with past albums, i feel the same positive vibe as "Emotional Rescue", which is one of my favorite albums. I think that ER is the only album with which a comparison can be made.

Weird stuff..

Quote
Roc

Quote
HardRiffin
At this point in your career (and at that age) i had hoped for a fresh-sounding, eclectic and really catchy album. Nothing more. And you have satisfied me! Thank you old bastards!!!

PS: And although I don't like to make comparisons with past albums, i feel the same positive vibe as "Emotional Rescue", which is one of my favorite albums. I think that ER is the only album with which a comparison can be made.

Weird stuff..

sorry I got the wrong message

Quote
MadMetaphoricalMax

Quote
powerage78

Quote
Bashlets
spin has never liked the stones

A very rare exception in the midst of a press on its knees in front of the Stones (the latest album being better than the previous one, and in any case the best since TY or SG).
The Stones have nothing to complain about from the media; their longevity is a treasure trove of indulgence. And what's more, they're fashionable. Not a working-class band.

Being an exception doesn't make you right.You can still sound like an idiot, and be the exception. So no kudos to Spin, I'd say.

Certainly, at least there's no need to cry out in horror when a very rare mixed or even negative review comes along !

***
I'm just a Bad Boy Boogie

Quote
jackflash27
Hackney Diamond vinyl is on its way to my home, says my recordshop. That would mean it will arrive tomorrow. No complaining on my side, but is that even allowed?

I think you have to send it back if it arrives too early...

Is there a link to this 'very negative' Spin review?

Quote
Big Al

Is there a link to this 'very negative' Spin review?

[www.Spin.com]

"Certainly, at least there's no need to cry out in horror when a very rare mixed or even negative review comes along !"

Oh I agree, totally. But in this instance I do think that it is getting really good reviews because it is .. really good.
Here's The Guardian's estimation, out today, not without some criticisms, but a solid four-star review too. I do agree with Petridis on the woeful cover art, though not on the titl!

'Behind its terrible title, which makes the new Rolling Stones album sound like a pole-dancing club in Clapton, and its abysmal artwork, which makes it look like a mid-price hair metal compilation, what Hackney Diamonds has in profusion is really good songs'

[www.theguardian.com]

Quote
PaintMonkeyManBlack
Another listen. More impressed. The keith song is gold. That man has soul.

Love this album. Time will tell how it ages for me. But very hyped

Can you describe Keith's song, also when you say song do you mean he only has one vocal on the album.
Cheers.

Quote
Irix

Quote
Big Al

Is there a link to this 'very negative' Spin review?

[www.Spin.com]

Wood never brought new musical dimensions and textures to the Stones like his predecessors Jones and Taylor – if anything, it was more like having two Keiths in the band.

***
I'm just a Bad Boy Boogie

Quote
powerage78

Quote
Irix

Quote
Big Al

Is there a link to this 'very negative' Spin review?

[www.Spin.com]

Wood never brought new musical dimensions and textures to the Stones like his predecessors Jones and Taylor – if anything, it was more like having two Keiths in the band.

I have to agree, for what ever reason Ronnie didn't seem to make much of a creative difference within the Stones, now with Rod he really left his mark.
Might be that Ronnie is/was the ultimate yes man to Mick and Keith and that was/is his place with them. .

Quote
Mathijs
I love Sweet Sounds of Heaven, I like the track with Bill and Charlie, but for now really underwhelmed with all the other tracks. I know it always takes a while before I like new Stones material, but for now I just can't get over Jagger's nasal and gnarly voice, and I can't get through his mannerisms and over-pronunciation.

Let's hope it grows on me.

Mathijs

Those mannerisms and the over enunciation have always been there to a degree...

It can be a very effective part of his delivery...but, in recent times, he's far too high in the mix and it doesn't work quite so well as a result.

Quote
Jackda

Quote
glimmer0
Wasn't the Mess It Up single supposed to be released today?

Fortunately, Keith managed to cut the cable on the buzz.

-Keith managed to cut the cable on the buzz?

Quote
Irix

Quote
Big Al

Is there a link to this 'very negative' Spin review?

[www.Spin.com]

So, they've placed it in relatively low position, and yet, there's no real negativity in their description of the record. Hmm... Thanks, Irix.

Quote
Spud

Quote
Mathijs
I love Sweet Sounds of Heaven, I like the track with Bill and Charlie, but for now really underwhelmed with all the other tracks. I know it always takes a while before I like new Stones material, but for now I just can't get over Jagger's nasal and gnarly voice, and I can't get through his mannerisms and over-pronunciation.

Let's hope it grows on me.

Mathijs

Those mannerisms and the over enunciation have always been there to a degree...

It can be a very effective part of his delivery...but, in recent times, he's far too high in the mix and it doesn't work quite so well as a result.

He got away with this in the 1980s. Unfortunately, his voice hasn't aged that well since. But he kept the mannerisms.



Edited 1 time(s). Last edit at 2023-10-18 15:19 by Stoneage.

Reading through all this is so different like back in 2003 for instance.
Even during the last tour it was different.
More open.
More good tempered.
More relaxed.
But with this new record coming out something happened to this board.
And I am not talking about the Waldorf & Stadlers. They belong to the show.
I am talking about those dry, analytical, soulless and cold comments, thoughts and opinions on a new Stones record.
It's not about that those people, this many people here, doesn't refer to the age, neither to the evolution of The Rolling Stones.
And it's not about that they talk about Rock'n Roll like discussing the stock market.
What it is about, and what makes me, well helpless and sad and of course angry is that those many here think the Stones are owing us something. That they don't await the new record - they expect it and they expect a thousand things from this band.
At last - and this is the most depressing issue - they expect that the 80years old Rolling Stones will give them back their youth with this new album.
Nobody can deliver that. Not even God.
The Stones are always about now. This minute. And to be happy with it.
That's their simple mission.
I am happy with this minute because when its over I am one minute nearer to the release of the new album

Great album!
What do they have to prove or improve after 61 years of existence on such a narrow base of Rock and Blues, 3-chord music.
To still have such a great voice from Mick at 80 is unimaginable.
He goes at it 100%, wonderful cutting guitar solos.
Almost all the songs I liked right from the start, I haven't experienced that with any other LP, yes at least with The RollingStones 1964 album, also one and all spontaneity
Hackney Diamond's songs keep growing, they have fun with it too.
I don't care what others think, everyone has their own taste.
If this were possibly a conclusion to the Stones, I'm fine with it.
I enjoy their new material.

Sorr. I am writing through a translation machine, my English is poor.



Edited 1 time(s). Last edit at 2023-10-18 15:39 by Idorh.

Quote
HardRiffin
At this point in your career (and at that age) i had hoped for a fresh-sounding, eclectic and really catchy album. Nothing more. And you have satisfied me! Thank you old bastards!!!

PS: And although I don't like to make comparisons with past albums, i feel the same positive vibe as "Emotional Rescue", which is one of my favorite albums. I think that ER is the only album with which a comparison can be made.

Great album, I hope HD is as good or better!

The Rolling Stones: Hackney Diamonds review – if this is the end, they’re going out with a bang

4/5 stars

Alexis Petridis
18 Oct 2023


Mark Seliger

The Stones’ first album of original material in 18 years crackles with a sense of purpose, with fabulous Keith Richards riffs and Mick Jagger sounding genuinely energised

The eighth song on the 24th studio album by the Rolling Stones is called Live By the Sword, a succession of variations on the titular maxim about dying by the sword. In truth, it’s not one of the strongest lyrics on Hackney Diamonds. You rather get the impression Mick Jagger came up with the song’s central conceit, realised he’d run out of ideas for variations on the aforementioned titular maxim around the end of the first verse, but boldly decided to press on regardless. “If you’re deep in the crime, you’re deep in the slime,” he avers. “If you live like a whore, you better be hardcore”: well, if you say so, mate.

Then again, you could make a convincing case that the lyrics scarcely matter. Live By the Sword is a raging blast that reunites the version of the Rolling Stones extant from the mid-70s to the early 90s – the drums were recorded by Charlie Watts at his final sessions before his death in 2021; Bill Wyman is on bass – with the addition of Elton John hammering away in the sideman role once occupied by the late Ian Stewart. Not for the last time on Hackney Diamonds, it recalls the moment in the late 70s when the Rolling Stones were briefly galvanised by the arrival of punk, whether they would have admitted it or not: it’s of a piece with Some Girls’ Respectable, Emotional Rescue’s Where the Boys Go and Neighbours, a refugee from the Emotional Rescue sessions that wound up on 1981’s Tattoo You. Jagger, meanwhile, sings the whole thing with yowling conviction, even when you haven’t got a clue what he actually means, as per the business about living like a whore. He sounds energised and engaged, a far cry from the Jagger you occasionally heard on Stones albums in the 80s and 90s, who didn’t seem to be singing so much as dutifully rearranging a collection of well-worn mannerisms and vocal tics to fit the songs.

And, in fairness, the lyrics occasionally essay a striking line. “If you live by the clock, you’re in for a shock,” sings Jagger at one juncture, which is among a number of lyrical references to the passing of time (“is my future all in the past?” asks Keith Richards on his solo turn Tell Me Straight) and a neat summation of the Rolling Stones’ more recent recording career. It is 18 years since they last released an album of original material, a pretty staggering gap, even by the standards of a band who clearly worked out in the mid-90s that the business of touring had become completely uncoupled from that of making albums: you no longer needed to do the latter in order to make millions doing the former. You might have been forgiven for believing that 2005’s A Bigger Bang would be the last album of their own songs the Rolling Stones would release, with 2016’s Blue & Lonesome a neatly cyclical finale: the Stones ending their recording career the same way they started it, with an album of blues covers.

That it isn’t may be down to Andrew Watt, who’s gone from working with Camila Cabello, Justin Bieber and Dua Lipa to a new role as producer by appointment to the rock aristocracy: Ozzy Osbourne, Elton John, Iggy Pop and Paul McCartney, who apparently recommended him to the Stones after sessions with Don Was floundered. Watt isn’t above catapulting his more venerable charges into the 21st century – he had Ozzy Osbourne singing through AutoTune on last year’s Patient Number 9 and did the same to Elton John on the Britney Spears collaboration Hold Me Closer – but he’s obviously realised that what a 21st-century audience wants the Rolling Stones to do is sound like the Rolling Stones.

The sparkle to the choruses of Angry and Depending on You (both co-written by Watt) suggest the presence of someone who knows how to make contemporary hits, and there’s a light modern sheen to the production that prevents it sounding like a determined recreation of the Stones’ past, even if guest star Lady Gaga nearly hospitalises herself trying to evoke the spirit of Merry Clayton, fabled Gimme Shelter guest vocalist, on Sweet Sounds of Heaven. But there’s nothing resembling the clumsy lunges for trip hop-inspired contemporaneity that ensued when the Stones employed the Dust Brothers and Danny Saber on 1997’s Bridges to Babylon and Mick Jagger has been mercifully dissuaded from calling once more on the services of British rapper Skepta. Indeed, Lady Gaga aside, the star guests stay off the mic and seem happy in the background. McCartney contributes an uncharacteristically distorted bassline to Bite My Head Off; both Elton John and Stevie Wonder stick to the piano stool.

Behind its terrible title, which makes the new Rolling Stones album sound like a pole-dancing club in Clapton, and its abysmal artwork, which makes it look like a mid-price hair metal compilation, what Hackney Diamonds has in profusion is really good songs: the ramshackle country honk of Dreamy Skies; the appealingly languid Driving Me Too Hard; Get Close, which hangs on a fabulous, quintessentially Keith Richards riff. Clearly the sessions weren’t without their hiccups – in a recent interview, new drummer Steve Jordan complained that the songs were “too poppy”, the guest stars superfluous and, tellingly, that Jagger and Richards should have produced it with his help – but the end product crackles with a sense of purpose: it’s hard to avoid the conclusion that, with mortality impinging on their thoughts after Watts’ passing, all concerned wanted the Jagger-Richards songwriting partnership to bow out with something noticeably stronger than A Bigger Bang.

If that was their aim, they’ve succeeded, coming up with that rarest of things: a latter-day Rolling Stones album that requires no special pleading. A sense of finality is added by the closing track, a raw, acoustic version of the song which gave the band their name, Muddy Waters’ Rolling Stone Blues, complete with the kind of shiver-inducing harmonica with which Jagger punctuated Blue & Lonesome and Richards playing a 1930s Gibson guitar similar to that used by the most legendary bluesman of the lot, Robert Johnson. It’s fantastic. “How do we finish?” pleads Richards on Tell Me Straight, a question to which Hackney Diamonds gives an emphatic possible answer.

[www.theguardian.com]