I know I just posted Part 1 yesterday, but I had the whole thing ready to go, so why wait? Here is Part 2...
Goat’s Head Soup (1973) ***
GHS isn’t a bad record; half if it is killer, but the other half is coasting.
It’s Only Rock and Roll (1974) ***
My friend ANCIANT was recently complaining about how critics jump the gun in reviewing new releases from David Bowie, how each new record is “his best since Scary Monsters” (the dreaded “return to form” compliment), but they turn out to not being close in quality to Scary Monsters. Sean Egan, in his book ‘The Rough Guide to the Rolling Stones,’ has a similar complaint about latterday Stones releases and critics declaring what turn out to be false “new Stones dawns,” and offers what he calls “the It’s Only Rock and Roll litmus test.” He says that whenever a new Rolling Stones record is released, ask the question “is it as good as IORAR?” IORAR is a solid but not outstanding Stones record, and the implication is that none of their recent releases have even reached IORAR quality. It’s a good test.
Metamorphosis (compilation of rarities and outtakes) (1975) ***
An odds ‘n sods collection with some interesting tracks, including outtakes of some familiars that are substantially different.
From the Vault: L.A. Forum (Live in 1975) (live) (2014/1975) ***1/2
The second in a new series of archival live releases, this one captures The Stones on Ron Wood's first tour as a Stone. Wood really proves to be a fantastic guitarist here, in fact the whole band really stretches out and cooks on much of this. Jagger is the weakest link here, though, slurring his words. The music often makes up for it, though.
Black and Blue (1976) ***
Both a funky, loose and scattered album and auditions for Mick Taylor’s replacement on guitar. Legend has it that Jeff Beck auditioned, but then scoffed at the simple arrangements of the Stones repertoire, and Keith Richards was so insulted that he wiped all of Beck’s contributions clean from the tapes.
Love You Live (live) (1977) ***
The first in a long series of inessential live releases, but this is probably the best of the inessential ones.
Some Girls (1978) *****
A burst of life and inspiration from seedy late 70’s New York, Mick is entranced by the new disco club culture, and Keith stands firm on keeping the rock riffs strong. It is this tug of war (Mick wanting to jump on new trends and stay relevant and Keith trying to preserve Stones tradition) that makes the record so vital.
Emotional Rescue (1980) **
Clearly Some Girls leftovers.
Tattoo You (1981) ****
A deceptive record, in that it was presented as a new release but in reality it was a clearing out of the vaults, as some of these songs date back to the mid-70’s in recording. That being said, it holds together as a surprisingly strong and coherent record.
Still Life (live) (1982) *
A apt title. Or maybe Stillborn would have been better.
From the Vaults: Hampton Colliseum (Live in 1981) (live) (2014/1981) ****
The first release in a new series of Stones live archival releases. Amazingly, much of Still Life was taken from this show, but where a perfunctory, heavily edited, randomly sequenced single record was a boring mess, the entire show actually comes to life and is fantastic. They are invigorated by the success of Tattoo You (this is from that tour) and it shows. Showbiz professionals at this point and no longer a dangerous rock and roll band, they nonetheless tear through this set with verve and vigor. Notable for the encore of "Satisfaction" where a crazy fan rushed Mick onstage and Keef intercepted him and knocked him down with his guitar and kept playing the riff.
Undercover (1983) ****
What the f**k is wrong with you people? By “you people,” I mean almost all of the record buying public and most critics. Undercover is generally considered one of the worst records in their entire catalogue. Wrong, wrong, wrong! Outside of their peak period, it is one of their best! Music critic Robert Christgau asked, in his review for Undercover, "what do people hear in this murky, overblown, incoherent piece of sh*t?" I hear a brutal, mean, sleazy, furious near masterpiece; the last time The Stones were really trying, the last time they sounded like they had something to prove or something at stake. Mick wants to bring them into the 80’s with slick dance grooves and New Wave sounds, while Keith and Ron Wood rebel with some of their dirtiest guitar work on record. Mick’s frustration comes across in his singing that sounds more like snarling at times. The music video for the knockout “Too Much Blood” is telling, with Keith gleefully chasing Mick around with a chainsaw.
Rewind (1971-84) (compilation) (1984) *****
Almost flawless single disc collection that puts the 70’s and early 80’s work in the best light.
Dirty Work (1986) **
The nadir of Keith and Mick’s fragile relationship, there is hatred in these grooves. Just look at the song titles: “One Hit,” “Fight,” “Too Rude,” “Winning Ugly,” “Had It With You”…I just don’t think the songs are all that good. Funny, Robert Christgau gave a famous and lengthy review of this record, giving it his highest rating and arguing at length for its brilliance. Yet he didn't like Undercover. Respectfully, Mr. Christgau, you got it backwards. (Cool guitar work, though, from Jimmy Page on the record's best song, "One Hit (To the Body)").
Steel Wheels (1989) **
Flashpoint (live) (1991) **
Voodoo Lounge (1994) ***
Stripped (live) (1995) **
Bridges To Babylon (1997) **
No Security (live) (1998) **
Forty Licks (compilation) (2002) ****
Jump Back, ’71-’89 (compilation) (2004) ***
Live Licks (live) (2004) **
Rarities 1971-2003 (compilation of rarities) (2005) ***
A Bigger Bang (2005) **
Shine a Light (live) (2008) ***
GRRR! (compilation) (2012) ****
Jump Back replaces Rewind (which is now out of print), but Rewind was a much better collection. From 1989 on, The Stones were putting out mere product, pure and simple. They were professional and talented enough to make it sound pretty good at times. It is product, it is trading on their reputation, it is doing variations on already established sounds, it is making money. The records are largely excuses to set up incredibly lucrative tours. Voodoo Lounge is the best of the latterday lot, featuring the killer Keith Richards sung “Thru and Thru” (used brilliantly in the closing scene of Season 2 of ‘The Sopranos’). To be honest, Mick Jagger and Keith Richards solo records during this period are better and more interesting.
Bottom Line: Hey, it’s The Rolling Stones. Aside from The Beatles, no rock band was more important than The Stones from about 1965-72. I would argue that they were probably even more influential than the Fab Four if you really analyze it, but that’s kind of like arguing between Ellington and Basie. After ’72, you’ve got to tread carefully. The serious rock fan should own everything between ’65 and ’72, own Hot Rocks on principle, then get at least Some Girls and find a used copy of Rewind. If you still want more, then move on to It’s Only Rock and Roll and Tattoo You.
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