Spins: Reviewed – The Rolling Stones – “Blue and Lonesome”
The Rolling Stones
Blue and Lonesome
(Interscope/Polydor)
Put four British geezers who have been disciples of Chicago blues since before most of us were born into a room for three days, supported by a few touring cohorts, and out comes the most essential Rolling Stones album in at least 27 years. Blue and Lonesome presents the famous blues evangelists as the master craftsmen they dreamed of being as hungry youngsters, while soaking up the tutelage of their Chess Records blues heroes and returning those sounds to their point of origin. The bandâs interplay is sharp, intuitive, and the perfect kind of loose, thanks to steady touring during the past four years.
The core four of Mick, Keef, Charlie and Ronnie are augmented only by longtime sidemen Darryl Jones on bass and Chuck Leavell on piano and organ, plus Steel Wheels veteran Matt Clifford on more keys. Itâs a shame that the late Bobby Keys wasnât around to add a few greasy saxophone licks a la âBrown Sugar,â and Mick Jagger carries the vocal (in knockout form) without aid from Bernard Fowler and Lisa Fischer â so, no spine-tingling female vocals a la âGimme Shelter.â But sticking to the fundamental elements of a rock and roll rhythm section draws comparisons to the Stonesâ scrappy youth and albums like Out of Our Heads and the groupâs self-titled debut â 52 stunning years ago.
That first record included songs by blues legends Willie Dixon and Jimmy Reed, and so does Blue and Lonesome. The band throws sparks on Dixonâs blues stroll âI Canât Quit You Baby,â as Jagger lets rip with a surprisingly youthful howl and trades licks with guest Eric Clapton. Reedâs sorrowful âLittle Rainâ lurches heavily on Charlie Wattsâ grim, brushed shuffle, and Jaggerâs lonesome harmonica wails from behind the band. Harp hero Little Walterâs âHate to See You Goâ jumps with a cocky guitar lick and the rooster crow of Jaggerâs harmonica. Leavell adds sparkle with a parlor piano solo on Magic Samâs âAll of Your Love.â
Jagger growls with indignation through Howlinâ Wolfâs knife-edged âCommit a Crimeâ while Watts swings and Woodâs guitar ping-pongs with Keith Richardsâ meaty riffs. Richards clearly has a ball with the jump blues of âJust Like I Treat You.â Blue and Lonesome was allegedly recorded as a palette-cleanser when the band hit a wall during sessions for an upcoming album of new material. This set of spirited covers is so satisfyingly shot-through with electricity and urgency, it sets a high bar for anything that follows. Get the vinyl if you can. This gritty romp would go well with just a hint of needle scratch and dust.
â Jeff Elbel
9 out of 10
