Published on Sep 12, 2005
It’s now official — September is my lucky month. Last year
around this time, I discovered my top two albums of 2004 within a
few days of each other. This year, it’s the Stones who take that
honor.
Until a few months ago, the Stones were not a major component of
the Clutterbuck Memorial Archives (started in honor of our dearly
departed fearless leader, Christopher “Pierce” Thelen).
40 Licks was lying around somewhere, and that was about it.
However, once again, it’s been proven out that I missed the train.
A few friends donated some albums, which included
Let It Bleed,
Beggars Banquet,
Her Satanic Majesties Request and
Exile On Main Street. It only took a few spins of each for
me to realize I had been depriving myself of some kick-ass
music.
As fate would have it, just as the Stones were starting to grow
on me, they released their first album of original material in
seven years. Now, going into this particular listen, it’s important
to keep in mind that the classics later Stones records are always
compared to hasn’t sunk in for me yet. At this point in time,
Let It Bleed and
A Bigger Bang are on the same playing field for me, and this
record manages to top my list for best record of the year so
far.
Whether or not one is a Rolling Stones fan doesn’t matter when
it comes to defining their sound; it’s instantly recognizable.
Honestly, there haven’t been many bands to blend blues and rock to
form their own distinctive brand of music. From the first ticks of
“Rough Justice” to the final licks of “Infamy,” this is a Rolling
Stones record throughout. Mick and Co. aren’t trying to be someone
else, or add bells and whistles to their stripped-down sound. This
is a return-to-roots record, and damn if it doesn’t succeed at
it.
Seeing as how this disc clocks in at roughly 65 minutes, there
is the natural assumption some filler is to be found. While
A Bigger Bang doesn’t break that rule, the filler isn’t as
disposable as it could have been. The closest things get to being
useless is the final track, “Infamy.” While the shoebox guitar
sound is catchy, the vocals are a step down from the rest of the
album, seeing as how it isn’t Jagger or Richards singing (I think
it’s Charlie Watts). “Let Me Down Slow” finds the band entering
more of a pop territory, and could have stood for a stronger
refrain.
Picking out the best moments is difficult. If you can get past
the eery Air Supply-sounding opening to “Streets Of Love,” there’s
an outstanding Stones ballad to be found. It displays a restraint
and “gentleness” the average person wouldn’t probably expect from
this band. The opening track, “Rough Justice,” is one of the better
rock songs I have heard in a long time; the opening riff tears into
you, and Mick comes along to deliver some suitable raunchy
Stones-ish lyrics (i.e. “Once upon a time, I was your little
rooster / But am I just one of your cocks”).
“Rain Falls Down” is a sequel of sorts to “Miss You,” perfectly
suited for dancing with an extremely funky beat and spry bass line.
“Back Of My Hand” is straight up blues, harmonica and all.
Actually, the guitar sound for this particular song reminded me
strongly of “In My Time Of Dying” off Led Zeppelin’s
Physical Graffiti. While I don’t agree with its sentiments,
the anti-Bush tirade “Sweet Neo-Con,” actually raises some valid
points (although the band denied it was about the president).
Finally, “This Place Is Empty” gives Keith Richards a chance to
stretch out the ol’ vocal cords, and his delivery is perfect for
this song. You can hear the world-weariness oozing out of every
intonation, as the song’s protagonist sits alone in a bar.
Who would have thought that a band comprised of 60-year-olds was
capable of rocking this hard? I for one didn’t think Mick and Co.
had it in them, but boy did they prove me wrong. This album
succeeds in striking a chord with their previous works; the first
listen made more of an impact on me than my first listen of
Exile On Main Street. Maybe it took old age for The Rolling
Stones to realize what kind of band they exactly are and that it’s
not worth changing just for the sake of change. Too many bands
change, adapt and mess around with a style in order to gain sales
or appeal to different age groups. The Stones on
A Bigger Bang merely get back in touch with what made them
the “Greatest Rock & Roll Band on Earth.” That’s all they
needed to do.