When they actually wrote songs – Fool to Cry, Memory Motel – they still sounded great. It’s essentially a collection of jams recorded while auditioning for a new guitarist. The sense that the Stones were losing interest in making albums was hard to avoid when confronted with Black and Blue. On Undercover, Jagger won: a lot of the then-cutting edge 80s production falls flat, but when it does work, as on the hip-hop-influenced opener Undercover of the Night and Too Much Blood, you can really hear what he was driving at. Most post-70s Stones albums seem rooted in a power struggle between Richards’ traditionalism and Jagger’s desire to stay relevant. Steel Wheels (1989)Ī comeback of sorts, this set the template for latterday Stones albums: solid rather than amazing, a few decent tracks, some obvious filler, the odd lunge for contemporaneity, the sense of feral menace that once powered them noticeable by its absence and the whole business clearly a secondary consideration to going out on tour to crank out the hits.
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