Reviews

Over 50 years since their first recordings you would question 'do we still need music recorded by a bunch of men in their 80s'? The answer to that is to let the music speak for itself, and this in an album that proves the answer is YES in capitals. It's hard with a band with so much history to not compare current music to previous works, but what The Rolling Stones have managed to do is insert enough call-backs to their earlier work that they actually welcome the comparisons. This is done whilst still also sounding fresh and vital at the same time. The nostalgia is here, but the sound now is also very modern, and there are touches of every style they band has been known for. 'Rough And Twisted' snakes from the speakers like a blues infused groove machine, and although it isn't the most expected track as an opener, it works brilliantly. There are shades of the band's early roots mixed into a modern day shuffle style that make its irresistible. Even the lyrics drip with references to their history. As the slide guitar brings it to a close, you are left waiting for the next burst of blues - but instead you get The Stones circa 2026, not 1963. 'In The Stars', the albums lead single, has a distinct Stones style whilst carrying a chorus that is built for radio play. It is a totally different song to the first on the album, in both style and substance. Even in their 80s, these men aren't willing to stand still. It is certainly a stand out track, if for no other reason than how easy it is to sing along to. 'Jealous Lover' shifts gears again, and now we are in the late 1970's with vocalist Mick Jagger singing in his falsetto. It is almost to the point of cheesy, until the chorus breaks the tension. It's a slower song, but not to slow as to kill the album's momentum too early. 'Mr Charm' is pure rock and roll, and is a great pumping tune. It is however one of the few that starts to wear out its welcome, lacking much variation and having a repetitive chorus. 'Divine Intervention' is a better track, and is evidence these guys can still rock, regardless of age. 'Ringing Hollow' is slower, and wears the country influences of the band on its sleeve. It's adequate, but nothing amazing. 'Never Wanna Lose You' is another modern sounding song, with a punch that almost heads toward a disco beat. 'Hit Me In The Head' is the rowdiest song on the album, and has a great harp-line. It even features the late Charlie Watts on drums. 'You Know I'm No Good' is an Amy Winehouse cover, and has a smooth slink to it, and Paul McCartney pops in with his bass guitar in hand for the moody 'Covered In You'. It all comes to a close with a rough and wonderful acoustic blues cover of Chuck Berry's 'Beautiful Deliah'. It's a perfect close to the album, and who knows, but potentially the recording career of the band? The chances are of course slim that the band will still have some future recordings in them, but if this were to be their final offering - it is certainly a worthy one.

Emerging in 1991 these guys immediately drew the attention of Aussie Rock fans with their tasty debut offering All For One. Released in 1991, it packs a punch through each song, and I can't think of a rock band that emerged with such a killer release, particularly in a period where grunge was emerging. They just demanded attention. They followed this up with an equally strong Tear Of Thought (1992) that in some ways sees the band acknowledging the success of their first release, building on that, and offering a wider view of the talent the band has. It showed them experimenting with a different styles to the full-on, balls out rock approach - and it paid off. This review focuses on the next release, self-titled but affectionately known as the 'gorilla' album (due to the cover picture). I listened to it recently, after some time, and it reminded me of the outpouring of talent these guys provided to the listener. It was like they could do no wrong. The album starts off with the customary straight up rock song., and it has a great melody to it. Dave Gleeson's vocal style is different to, say, Jimmy Barnes or Jon Stevens. It is much more on a higher-pitch sound, which while being different, draws the listener in to discover how this matches well with the classic rock music the band pumps out. Track 3, 'Sad Song', is their opus for the band at this point. Still 30 years later, this song is on high repeat on radio. A perfect ballad that I'm sure the topic resonates with a number of fans. Don't get too comfy though as 'High As A Kite' commences a tribute to the drugs part of SDRnR. It has a very catchy chorus. 'Impossible' is a catchy acoustic track, again different to the norm for them. Finally, 'A Friend Of Mine' is a great ballad calling out on the importance of friends, no matter what. This is just another example of more thoughtful lyrics, highlighting the maturity of the band, just 4 years on from their first release. The album did divide fans somewhat at the time, however, is now often acknowledged as their best release. I find it an easy listen. That's not to dismiss the effort these guys have put into their craft. Moreso that you can be assured throwing this release on while cooking up a BBQ with your mates.