Album – The Rolling Stones ‘Hackney Diamonds’ (2023)

You get a sense immediately of the renewed, almost urgent, purpose of the three remaining active members of The Rolling Stones, Mick Jagger, Keith “Keef” Richards and Ronnie Wood, in their first album since the excellent covers of some blues favorites in 2016’s “Blue & Lonesome”.  After the passing of the much loved Charlie Watts on drums, that might have been an apt coda for a band that started in 1962 only wishing to promote their African American blues heroes to a British audience.

Fittingly, the lead track “Angry”, starts with a, subtly heavier, drum beat from Steve Jordon, a longtime associate of “Keef” in his side band the “X-Pensive Winos”, nominated as his replacement by Charlie Watts himself, before Jagger counts in the robust opening riff. From the opening riff, and the vocals which accompany it shortly after, there is a directness that the band has not had since arguably the peak of their powers in the late 60s/70s concluding with 1981’s “Tattoo You”. Jagger has not sung so forcefully for decades.

This is the first album of mainly original material since 2005’s languid “A Bigger Bang”, with the only cover being the final track, a poignant cover of Muddy Waters’ “Rolling Stone Blues” (featuring some soulfully perfect harmonica by Jagger), from which the band acquired its name. “Keef” has often recalled that Brian Jones took the call for their first gig at a time when the band was nameless. When asked what the name of the band was, a Muddy Waters album was lying on the floor in the decrepit flat Mick, “Keef” and Brian shared and he promptly said “The Rolling Stones”.

All original songs are attributed to the old firm of Jagger and Richards (“Keef” indicates Mick brought  most to the table), though, interestingly, producer Andrew Watt is credited as a co-writer on three of them. Much credit must go to Watt who provides a modern, but uncomplicated, production and, with the energy of youth, has clearly coaxed enthusiasm from the band and its many featured artists. This includes the old rhythm section of Watts and the long retired Bill Wyman on the track “Live by the Sword” which was part of the abandoned 2019 sessions produced by Don Was, with Charlie Watts also appearing on “Mess it up”.

Pleasingly, the songs are a typical Rolling Stones mix of swinging blues rock, some country honk, which they have always excelled at, in “Dreamy Skies” and an outstanding “Keef” vocal on “Tell Me Straight” which has some touching lyrics, perhaps with the band’s increasing age and loss of Watts in mind.

Special mention ought be made of “Bite my Head off” with Paul McCartney on a Hofner “Beatles” bass gifted to him by Watt which has a “fuzz” switch on it. The track has a punk-like quality and the almost teenage glee of the band with McCartney can be heard including on the bass solo.  Elton John provides excellent keyboards on “Get Close” and “Live by the Sword”, but the standout track is “Sweet Sounds of Heaven” which is a slow building gospel track that could easily have found its place on the 1972’s seminal “Exile on Main Street”. Lady Gaga energises such a powerful vocal, duetting with Jagger, that it overshadows the tremendous keyboard work by none other than Stevie Wonder.

In many respects it is quite unfair that a band of this age should produce such a vital album. In sound and attitude, it sits neatly after 1978’s “Some Girls” (and is better than the substandard “Emotional Rescue” which did) with a sprinkling of “Exile on Main Street”.

Mick and “Keef” have both said the Stones have another album in them after their current US tour, despite both having just turned 80. Even if that does not eventuate, in the shadow of their grief and mortality, they have given us a glimpse of why they were once hailed as “The Greatest Rock and Roll Band in the World”.

4/5 stars