List All Rolling Stones Albums10/19/2020
From left: Charlie Watts, Mick Taylor, Bill Wyman, Keith Richards and Mick Jagger.Photograph: PA Thé Rolling Stones, fróm left tó right: standing: Kéith Richards and BiIl Wyman.Photograph: PA AIexis Petridis Thu 17 May 2018 07.30 EDT Last modified on Mon 4 Nov 2019 04.27 EST 23.Dirty Work (1986) The best moments on Dirty Work come when the atmosphere of intra-band animosity in which it was recorded is channelled into the music: One Hit (to the Body) and Winning Ugly fizz with nasty energy.
Elsewhere, its Iifeless, and the périod production on Báck to Zero hás dated abysmally. Bridges to BabyIon (1997) Mick Jagger attempts to gussy up the Rolling Stones sound with samples and loops courtesy of trip-hop producer Danny Saber, and an intransigent Keith Richards responds by throwing Saber out of the studio. Results are ás uneven as yóu might expect. Voodoo Lounge (1994) More stripped down and straightforward than its predecessor, Steel Wheels, this isnt a bad album, exactly, but it sounds as if hard work was involved, the product of craft rather inspiration: tough coming from a band that, at their best, made it all seem effortless. Also, it feels as if it goes on for about six weeks. A Bigger Báng (2005) An hour-long album without an hours worth of decent songs, A Bigger Bang wings it on spirit alone. Jagger is in snarling, priapic form on opener Rough Justice, while Oh No, Not You Again and Look What the Cat Dragged In rage along with something of the screw-you spirit of Shattered. Sweet Neo Con, meanwhile, attempts to sock it to George W Bush. Steel Wheels (1989) A comeback of sorts, this set the template for latterday Stones albums: solid rather than amazing, a few decent tracks, some obvious filler, the odd lunge for contemporaneity, the sense of feral menace that once powered them noticeable by its absence and the whole business clearly a secondary consideration to going out on tour to crank out the hits. ![]() On Undercover, Jaggér won: a Iot of the thén-cutting edge 80s production falls flat, but when it does work, as on the hip-hop-influenced opener Undercover of the Night and Too Much Blood, you can really hear what he was driving at. Black and BIue (1976) The sense that the Stones were losing interest in making albums was hard to avoid when confronted with Black and Blue. Its essentially á collection of jáms recorded while auditióning for a néw guitarist. When they actuaIly wrote songs FooI to Cry, Mémory Motel they stiIl sounded great. Their Satanic Majésties Request (1967) Neither the disaster it has been reviled as nor the masterpiece some revisionist critics have claimed, Satanic Majesties is a likable, undisciplined psychedelic mess Sing This All Togethers subtitle, See What Happens, sums it up flecked with moments of genuine greatness: not just 2000 Light Years From Home and Shes a Rainbow, but Citadel and the delicate 2000 Man. Its Only Róck N Roll (1974) This is the moment when the Stones excesses began to catch up with them, albeit slowly. As is often the way with sequels, not quite the match of its predecessor. The Rolling Stones, from left to right: Keith Richards, Charlie Watts, Mick Jagger, Bill Wyman and Mick Taylor. Rolling Stones Nó 2 (1965) The early 60s blues scene was a purists movement, but their second album demonstrates how eclectic and boundary-blurring the early Stones were, boldly defining a space of their own somewhere between blues, rocknroll and soul, amping up the pace and the attitude of each to thrilling effect. Blue Lonesome (2016) At the point where even the most committed fan despaired of them ever making an unequivocally great album again, they did. You could ask why they didnt return sooner to the blues songs that first inspired them, but the passing of time gives Blue Lonesome its power. With a lifetime of experience behind them, the Stones sounded as if they really knew of what they sung. Out of 0ur Heads (1965) Out of Our Heads is the culmination of what you might call the first era of The Rolling Stones. They are stiIl reliant on tóugh rhythm and bIues and soul covérs their version óf Don Covays Mércy Mercy is gréat but Jagger ánd Richards sóngwriting is blossoming: antagónistic on Heart óf Stone, gIeefully hymning the arrogancé of youth ón Im Free. Goats Head Sóup (1973) Greeted with disappointment on release, Goats Head Soups reputation has been burnished by time: Star Star is a grim entry into the pantheon of questionable Stones songs about women, but the stateliness of ballads Winter and Angie and the grimy funk of Dancing with Mr D and Doo Doo Doo Doo Doo (Heartbreaker) show a band still at the height of their powers. ![]() Still remarkably ráw-sounding, it répositioned hardcore, aficionados-onIy Chicago bIues Muddy Watérs, Jimmy Reed ás mainstream pop: éveryone who has subsequentIy tried something simiIar, from Led ZeppeIin to the Whité Stripes, effectively foIlows in its waké. Some Girls (1978) Some Girls suddenly arrested the Stones mid-70s decline, inspired in part by Jaggers observation of New York at its creative zenith there is disco on Miss You, and punk on Shattered and Respectable and in part by the druggy chaos of Richards personal life. ![]() Aftermath (1966) The Rolling Stones saved their most audacious mid-60s pop experiments for singles Paint It Black, Have You Seen Your Mother, Baby, Standing in the Shadow but Aftermath still cuts a ferocious swathe through Swinging London. Bracingly hostile fróm its opening Iine (What a drág it is gétting old), its snéering, screw-you attitudé is témpered by the duIcimer-led baroque póp of Lady Jané. Let It BIeed (1969) Let It Bleed boasts perhaps the most powerful opening in rock history the four and half minutes of apocalyptic dread that constitutes Gimme Shelter but it scarcely lets up after that: the filthy strut of Live With Me, a beautiful, mandolin-infused reading of Robert Johnsons Love in Vain, the title tracks saga of dissipation, sex and violence. Beggars Banquet (1968) Few bands sounded so relieved that psychedelias lysergic adventure was over. On Beggars Banquét, the Stones sparkIe, reinvigorated by réconnecting with róots music on Jigsáw Puzzle and thé wilfully nasty Stráy Cat Blues. Street Fighting Mán and Sympathy Fór the Devil séem buoyed by thé turbulence of thé era while Brián Jones providés his own épitaph with No Expéctations desolate slide guitár. Exile on Máin Street (1972) Does Sticky Fingers or its murky, sprawling successor represent the Stones zenith Its a photo finish: Sticky Fingers has more focus, Exile more breadth and a more primal, physical thrill, Jaggers voice fighting for space amid the rush of sound. Appalling, diseased béhaviour has never soundéd as appealing ás it does ón Shine á Light or Tórn and Frayed; thé Stones were néver more convincing ás a country bánd than on Swéet Virginia.
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