1976 (Atlantic Records)
At the age of 59, I became a fan of The Rolling Stones, seriously. Although I had to listen to the LP “Black And Blue” frequently in the break room of my high school and even saw them live at the Kuip during a family outing in the 80s, I thought I had experienced enough of the Stones, so it’s a wonder that I recently had a change of heart. Suddenly, I found myself enjoying the groovy basslines that Bill Wyman added to the music. Now, I’m someone who likes to expand their CD collection and in no time, I had gathered a nice collection of Stones albums. The best album they’ve ever made, in my opinion, is undoubtedly “Black And Blue”.
The proglombroso in me was quite clear about it and felt that I should write a review about the album. So here it is.
“Black And Blue” is an iconic album that begs to be placed in historical perspective. The album was released on April 23, 1976, a year and a half after guitarist Mick Taylor left the band. A lot happened during that time, with recordings in Munich, auditions in Rotterdam, jam sessions with Jeff Beck and others and overdubs in Montreux. The result is impressive because “Black And Blue” is primarily a lush album.
In eight tracks, you can hear how The Stones blend their own band sound with elements of funk, reggae and even disco. Although these styles may not be particularly exciting, when combined with the expressive rock and blues of the band itself, it creates an infectious eclectic album. It took a moment for it to click, but I ultimately want to praise Jagger and company for being willing to think outside their comfort zone with “Black And Blue”. Quite a progressive thought.
A look at the list of contributing artists reveals quite a few different guest appearances. I want to highlight a few. From the auditions for a new guitarist, the contributions of three individuals actually made it onto the album: Harvey Mandel, Wayne Perkins and Ronnie Wood. In addition to Keith Richards, who naturally handles the majority of the guitar parts, these gentlemen can also be heard regularly.
The album opens with the dragging funk of Hot Stuff and you’re immediately grabbed by the infectious bass work of Bill Wyman and the straightforward drums of Charlie Watts. It’s incomprehensible that I wasn’t receptive to it all those years. I think there are many music lovers like me who focus too much on a specific genre and thus exclude other types of music. In any case, I can also enjoy the snappy strumming in Hot Stuff and the swirling lead guitar catches my attention. Hot Stuff opens the door wide to the rest of the album.
Then comes a track like Hand Of Fate with its rocking riffs, which resonates with me. Again, there is a tasty foundation to the song. The subsequent reggae-tinged Cherry Oh Baby is, in my opinion, the weakest track on the album. However, this cover of Eric Donaldson fits well within the overall sunny atmosphere with its organ chords. After this lackluster track, the band treats us to the exceptionally beautiful Memory Motel, a ballad that spans over seven minutes. It is the only song where Keith Richards doesn’t play guitar and leaves the task to Wayne Perkins on acoustic guitar and Harvey Mandel on electric guitar.
The B-side contains several equally strong songs. Hey Negrita has the same infectiousness as Hot Stuff and Crazy Mama rocks just as delightfully as Hand Of Fate. One track I always look forward to on the album is Fool To Cry, a beautiful ballad that is nicely supported by electric piano. Melody is a jazz blues song inspired by pianist Billy Preston, the man who happily tinkles away in this dark barroom number. Towards the end, a brass arrangement appears, adding a serious note to this playful song.
I cherish albums that have a few great songs on them and “Black And Blue” is no exception, seriously.
© Dick van der Heijde 2024