kabrisky morning 1960 on the platform of Dartford waiting for a train in Central London after a long break we met two fellow, who knew each other from childhood. One was called Keith, the other Mick, the second under his arm he held a bundle of Blues records that he was discharged from Chicago, because in England to buy them was impossible. Keith is impressed that he later described as: “Sitting in the car, like we had a deal, without knowing it, like Robert Johnson at the crossroads. We had an invisible bond”.
After more than half a century later, the greatest rock band on the planet, born of love for the Blues and began his career with attempts to play, releasing an album consisting solely of covers of Chicago Blues of the turn of 50-60-ies. Yes, it is, of course, return, as it is expressed, to the roots, but even this is as usual “rolling”, a brilliant marketing move, given the overextended like never a break between albums. And there is no need to grind new songs, especially when you take into consideration the best relationship of the two main co-authors (after a rather scandalous autobiography, Keith and even his own triumphant solo disc), and instead of that beautiful ring of their own great history and really pay tribute to their gods, that is, “Caesar and the God of gods”. The album, whose author was probably human-computer Jagger, so accurate, that now, when it is implemented, it is impossible to imagine any other option.
The Rolling Stones announced a new album of Blues covers
However, The Rolling Stones would not be itself if it were limited only to perfect the marketing, and it would not have added something very small — a miracle. Namely, it shows the band on “Blue &Lonesome”. This incredible combination is diabolical know-how “rolling”. The team is not producing albums for over ten years, shoots in the West London Studio owned, by the way, Mark Knopfler, and for three days recorded the dozen tracks almost live, with no overdubs, sitting, as of old, circle around the microphone. They play their idols, Jimmy reed, Howlin ‘ wolf, little Walter and other Blues musicians of those times, and in a couple tracks (“I Can Quit You Baby” Otis rush and “Everybody Knows About My Good Thing” little johnny Taylor) helping them the king of the white Blues guitar Eric Clapton working next door on a private plate.. And I must say that claptonesque melodious solo is the sm oothest moments of entry — long The Rolling Stones was not given such a rude, raw energy and such a living and authentic sound, especially compared to the clearly prepodavanii albums of the 90s. Which is only explosive, rhythmically ragged “Hate To See You Go” little Walter — here Mick Jagger demonstrates a virtuosity worthy of the author of the song hold the harmonica, not the note, an essential skill for a frontman of his status. And in General his voice and harmonica obvious instigators on this album.
Some critics say that The Rolling Stones have achieved a sound of their first albums when they still naively considered themselves a Blues group. But this is nonsense, because then they wanted to play real Blues musicians, but really just couldn’t — just like our Mike and BG might not play as their Western idols, but along the way found and forged its own unique style. And now, already into the second decade of a new digital era “the rolling stones” just do it.
The Rolling Stones
the Album “Blue &Lonesome” available in Apple Music, Deezer, and on Yandex. Music