Song selection is one key: these are deep cuts that, while known to blues purists, haven’t been done to death by every bar band around.īy recording them with co-producer Don Was quickly and live in the studio, the tracks keep a sense of spontaneity and verve that will have you checking IDs to make sure that these are indeed the same gents whose youngest member, Ronnie Wood, is a sprightly 69. The Stones spent all of three days in Mark Knopflers West London recording studio, cranking out an impromptu collection of blues covers. Several factors besides those already mentioned help make “Blue & Lonesome” a unexpected blast of fresh air from one of rock’s most Oldchella-est of outfits. Blue & Lonesome could be a homecoming to 1964, but more gritty, and benefitting from a lifestyle that earned the Stones the right to sing the blues.
Individual players may step out for an occasional solo, but no one attempts to overshadow the tightly knit grooves created by the musicians as a whole.Įric Clapton sits in on two tracks, adding effortlessly fluid slide guitar to “Everybody Knows About My Good Thing” and more conventional licks to “I Can’t Quit You Baby.” But this is no star turn even he stays completely within the after-hours small combo feel the Stones have established.
THE ROLLING STONES BLUE AND LONESOME FULL
You’ll find out when you hear the band tear through the likes of Little Walter’s “I Gotta Go,” a stomper anchored by Jagger’s fiery old-school blues harp, and Willie Dixon’s “Just Like I Treat You,” an energetic Howlin’ Wolf cover sporting a full arsenal of Keith Richards guitar licks and bedrock drumming from Charlie Watts. I know that recording new music in a room theyre not familiar with, theres sometimes going to be weeks before the room breaks.
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