Exile on Main Street

Rating ("1-10" or "CLASSIC"): CLASSIC
Best Song: "Tumbling Dice" or "Happy," or "All Down the Line…" oh, I DON'T KNOW!
No way I'm doing a song-by-song review of this

Exile on Main Street, arguably, was the last gasp of the Stones' late 60's/early 70's winning streak that began with the 1968 album Beggar's Banquet. I know it's rather clichéd to say that about this particular album, but I will make up for it when I review Goat's Head Soup. It's the only studio double album in their career thus far, not counting Greatest Hits releases. It's not a very long double album - like the WHO's Tommy, it fit easily onto a single CD.

As I noted above, I'm not going to do a song-by-song review of this. Why? Not only because I'm too lazy to review 18 songs for no pay, but also because it wouldn't work with this album. Exile on Main Street is meant to be listened all the way. Some of the songs don't hold up well on their own; there's no way to deny that. And the production on the record makes a lot of it very same-sounding. But that's where the magic lies

Panned upon its release and almost overrated now, Exile is an interesting record. It's same-sounding, but diverse all in one. It's just one really, really long bar room stomp kind of record. Every song, from the energetic openers "Rocks Off" and "Rip this Joint" (I don't care what the Stones say about "Flip the Switch," THIS sounds like the fastest song they ever recorded), to the country-ish ballad "Sweet Virginia," to the blues cover "Stop Breaking Down," to the most gospel-sounding closers "Shine a Light" and "Soul Survivor," there is a lot of diversity on the record that takes time to realize.

In the first few listens, everything sounds like it blends together. Most of the rockers sound good, but similar. The ballads? Same deal. But over time, the flourishes in sound and style begin to stick out.

Of course, as with every Stones record from this time period there are some definite classics in the genre. "Tumbling Dice," "Happy," "Torn and Frayed," "Rocks Off," "Loving Cup," "Shine a Light" and the always-underrated "All Down the Line" stick out upon the first couple listens. On the flip side, on their own, "Casino Boogie," "I Just Wanna See His Face" and "Shake Your Hips" don't hold up…

But on this record, and in their places, they blend in to create the sometimes mindless, sometimes bleak, and sometimes tired, but always engaging listen that is Exile on Main Street: A definite candidate for best rock album of all time, and an all-time highlight of the Stones' long career.

Goat's Head Soup

Rating ("1-10" or "CLASSIC"): 9
Best Song: Winter
Not quite the steep downfall some claim it to be

From the opening notes of Goat's Head Soup by the Rolling Stones, you can tell you're not in for Exile on Main Street pt. 2. "Dancing with Mr. D" is dark and rather hokey. Not that bad a song, but compared to the opening classics "Rocks Off," "Brown Sugar," "Gimme Shelter" and "Sympathy for the Devil," well, it's just lacking.

But then, things pick up quickly with "100 Years Ago," a song that switches between sweet memory and ass-kicking guitar jam a few times, courtesy of Mr. Mick Taylor. It's a close contender for best song here. Next is a Keef ballad, "Coming Down Again." Sweet but unremarkable.

And again, things pick up with "Doo doo doo doo (Heartbreaker)." As should be expected from a song titled "Heartbreaker" (c'mon, you know they all kick ass. Mariah Carey's, Led Zeppelin's, all of them), it moves along nicely with some political commentary and some funky-assed guitars. "Angie" is one of Mick's most well-known ballads. Somehow, despite coming after "Heartbreaker," still manages to be an affecting and beautiful piece of work, focusing on Mick's vocals with strings, soft guitars, light drums and pianos to back him up.

"Silver Train" is funny, continuing the winning streak, which ends with "Hide Your Love," which isn't special, but it isn't anything bad either. But then, "Winter," the best song on the album starts up. It's a power ballad, and a romantic one at that. "Angie" is prettier, but "Winter" is more stunningly gorgeous. "Can You Hear the Music" has no chance of following it up.

And the closing song, "Star Star," is worth a paragraph all its own. Its real title is "Starfucker," and it ranks as the nastiest, dirtiest song the Stones ever put on a record (The rarity "Cocksucker Blues" is decidedly more raunchy, though). Allmusic Guide is quoted in its review of Goat's Head Soup by saying "…they cap off this utterly excessive album with "Star Star," a nasty Chuck Berry rip that grooves on its own mean vulgarity - it's real title is "Starfucker," if you need any clarification, and even though they got nastier (the entirety of Undercover, for instance), they never again made something this dirty or nasty." Now, even though the phrase "even though they got nastier… they never again made something this… nasty" doesn't make much sense (nice wording job, there), it's pretty true.

So what's wrong with this album that makes it miss out on the "Winning Streak" period of 1968-1972? Well, for starters, the filler is easy to pick out. None of it really qualifies as "bad" by most bands' standards (explaining the 9), but it's still a step down from the consistency of, say, "Let It Bleed." It's not a classic by any means, but most bands would kill for songs as good as some of these.

It's Only Rock and Roll

Rating ("1-10" or "CLASSIC"): 6.5
Best Song: Fingerprint File
Now THIS is a steep fall…

I never understood why Goat's Head Soup always got so much shit while this album got ignored. If anything, THIS is where the Stones slipped out of their "golden age," and not there. At least GHS had knockout tracks like "Angie," "Winter," and "100 Years Ago" to carry it. This is the first "mediocre" Stones album since their humble beginnings as a cover band.

What's so bad about it? Nothing in particular. It's just a true disappointment because of the plethora of great songs that lined the past few records. "If You Can't Rock Me" sounds sloppily sung. "Ain't Too Proud to Beg" is a catchy cover, but nothing really special. "Till the Next Goodbye" isn't bad, but it's, again, nothing special, either. "Time Waits for No One" is interesting, but not much else. "Dance Little Sister" and "Short and Curlies" are blatant filler, and "If You Really Want to Be My Friend" is hurt by being sandwiched between them.

"It's Only Rock 'n' Roll (But I Like It)" is the ONLY song in this set to live on as a staple in the stage show for years to come. It's a simple anthem, and everything you need to know is explained in the title. Beats the hell out of most of the "I <3 Rock!" kinds of songs AC/DC mastered. You just can't hate something that straightforward.

"Fingerprint File," the closer, is the best song, though. It's unique, with some disco-funk-ish elements thrown in for experimentation. It was a nice tip, too, since the Stones would begin their full-fledged experimentations with disco songs first thing on the next record. But it's all good stuff.

So, what brings this album down is its sheer mediocrity. After an incredible string of some of the greatest albums of all time, the Stones stooped down to put out a simple album that sounds tired and throwaway-ish.

Black and Blue

Rating ("1-10" or "CLASSIC"): 8.5
Best Song: Memory Motel
My personal favorite Stones album…

…But that's based on my preferences. This album by no means equals masterpieces like Let It Bleed or Beggar's Banquet… oh no. This is probably the band's loosest record, with the least amount of effort thrown in. As such, it is mostly a jam record that was recorded while the band searched for a replacement for Mick Taylor (eventually settling for former Faces guitarist Ronnie Wood).

There are only eight songs here, and with the exception of the two ballads, they're just jams. Only one of the songs is less than four minutes long, the reggae-tinged "Cherry Oh Baby."

Just because this is a jam record doesn't mean there isn't anything noteble about it. First off, it may very well be their most diverse release yet. "Hot Stuff," the opener, was their first full-fledged disco experimentation. Based around some funky riff and guitar work from Keith Richards, some drums, solos, and Mick Jagger repeating the phrase "Hot Stuff! Can't get enough" over and over, it perfectly sets the tone of the album.

"Hand of Fate," which follows it, it more of an actual song. It has more lyrics, and sounds less improvised, at least. Simple lyrics, though. "The hand of fate is on my now, pick me up and knock me down." It's probably the most underrated song in the Stones career, at least as far as albums go (I'm sure they have a boatload of B-sides that deserve praise, too). It's the most bluesy song on the record, too.

"Cherry Oh Baby" is the album's reggae song. Possibly the first that they did, certainly not the last. The shortest song on the record, and it's nice. It's nothing great on one hand, but nothing that deserves to be discarded (I say that kind of thing too often…).

"Memory Motel" is the best song on the album, though. It's a sweeping, 7-minute ballad with Mick and Keef trading off on vocals while some beautiful piano parts carry the song. It's the most composed and least jammy song on the album. I love the tear-jerking chorus. I'm such a sap.

"Hey Negrita" has its share of Spanish influences, and it's another successful jam. Ronnie Wood, who would be their guitarist for the next 25+ years, joins in on this one. Some nice guitars here, too. It's a perfect example of why they chose him.

"Melody" is a piano-driven jam. Rather relaxing. Rather fun. Like the rest of the album. Rather jazzy. Unlike the rest of the album. I like it.

"Fool to Cry" is the second ballad here. Jagger uses his falsetto to a good effect. Doesn't beat "Memory Motel," in my mind, though. It's still decent, though.

And, finally, the closer, "Crazy Mama" is… crazy. All-out rocker. It's nothing special, though. Not a BAD closer, but not a particularly good closer. End of story.

So, there it is. Another in my long, long line of Rolling Stones reviews, as unbiased as I can make it, considering it's my favorite one. Some brilliant jamming, one or two great songs, lots of good grooves. Can't go wrong with that, right?

Tattoo You

Rating ("1-10" or "CLASSIC"): 10
Best Song: Waiting on a Friend
Not quite a classic, but a worthwhile record

"…IF YOU START ME UP"… and with that, what many hail as the last "great" record the Stones have recorded, Tattoo You, begins. And no better way to begin an album with a song about cars and sex, right? Right. And the equally as good, and possibly even better anthem, "Hang Fire" follows it. Some near-missteps in the almost overlong (but otherwise a good jam) "Slave," "No Use in Crying," and "Neighbors" are made up for with "Little T&A," "Black Limousine," "Waiting on a Friend" and "Tops."

So there isn't a bad song here, at least in my opinion (remember, I said "near" missteps). What is holding this record back? Personally, I have no clue. I guess this record never had "it" for me. You know, "it," that indefinable thing that adds a certain charm to elevate a record… But since I have to think of an objective reason to not give this a "CLASSIC" rating, I'll do better.

Maybe it's because some of the songs lack energy from certain members, like "Slave" and "Black Limousine" (which, btw, came off better on the Stripped Companion bootleg). "Neighbors" is nothing special. Kind of like any of the rockers off Some Girls, but not a classic.

Maybe it's the fact that an entire side of ballads can get tiresome… That's not like me to say that, but, well, by the time "Heaven" (another fine song) rolls around, I'm waiting for something more energetic.

So, in conclusion, I have nothing to back up the fact that I didn't give it my highest rating. Nothing. I've been sitting here, listening to it all the way through, and it doesn't move me like their late 60's/early 70's material. On the other hand, it doesn't make me want to shelve it permanently. So, I guess you all can take that for what you will. The best I could do it be fair and give it my second highest rating… If anybody wants to take a stab at reviewing it, send it in.

Undercover

Rating ("1-10" or "CLASSIC"): 8
Best Song: "Wanna Hold You"
Overly raunchy? Sure. Bad enough to hurt the music? Hellz Naw.

Undercover… the Rolling Stones album almost universally panned, especially by critics for its content. It's raunchy, that's for sure. Definitely raunchier than anything they have done since or before. I like to compare this one to their biggest experiment in psychedelia, Their Satanic Majesties' Request. It's a place they hadn't gone to before, a place they hopefully will not try to revisit, but a very cool place to be.

And it starts with a bang. The dance-y, political rocker "Undercover of the Night" echoes and goes fast. Next, the Nymphomaniac Rocker (yes! I finally got to use that phrase) "She Was Hot" is unbridled cock rock at its finest. Dripping with sex, the guitars and pianos are a subtle, nice touch. "Tie You Up (The Pain of Love)" is just as dirty as its title makes it sounds. References to bondage and, well, more sex abound while Jagger grunts out the song… gotta love Mick.

If Allmusic Guide was ever right about anything, it's that Keith's ballad, "Wanna Hold You" is the only break from the cartoonish carnage surrounding it, and, following two sex-centric (wow, that's a neat phrase…) songs, it sounds extra-romantic. "Feel On Baby," which follows it, is another lustful song, but it's another one of the Stones' reggae exercises. It's tamer than "Tie You Up," but, well, almost anything would be tamer than that.

But I only said "almost" anything. They kick right back into the raunchiness with "Too Much Blood." Don't worry, this one isn't all about sex. There are tinges of sex, but the centerpiece of the song is a tale of a Japanese axe murderer, or something. It's a commentary on movies… or violence in society. Something. But, either way, it's a silly song with a very danceable beat. "Pretty Beat Up" is yet another violent song, and that's it. It has a nice riff, though.

"Too Tough" is ANOTHER violent song… crazy, crazy Stones. "All the Way Down" is, like, "She Was Hot" a NymphoRocker (hey, if I wanna make up musical genres, I will) oozing with sex. It's a catchy, fun number, too "She went all the way… all the way down…" Yeah. "It Must Be Hell," the last song, (I guess for the sake of symmetry) is another political rocker, like "Undercover of the Night."

So, in a nutshell, Undercover is the Stones' most underrated record. The increase in raunchy material didn't exactly kill the music, and the addition of dance influences couldn't kill their credibility. It's just one of those records, going through their discography, where one must think "WTF was THAT?" then move on. While enjoying it, of course.

Dirty Work

RATING (1-10 or "Classic"): 4
Best Song: One Hit (To the Body)
Loud and aggressive… but not much else

Some people start reviewing their favorite bands’ works starting with their favorite album, or what they think is the best work… But no, Jere is not like that~! Instead, I chose to start with their worst work. And Dirty Work is, by and far, their worst work. Universally panned (and rightfully so). Further proving my theory that the best are capable of the worst, the “World’s Greatest Rock ‘n’ Roll Band” tried to get it all together, for Keith’s Sake. See, Mick wanted to start a solo career (silly rock stars… Trix are for kids), and Keith never looked to have a solo career for himself – the Stones were his life.

So, with that, they began their 1986 album. Which begins with a classic, “One Hit (To the Body).” Such a classic that I listened to it several times before remembering I had started a review. Keith’s driven, menacing riff, a steady beat, and the only time that Mick’s barking out lyrics will ever work. Some nice hooks, too. “It ain’t enough for me!” I totally agree, Mick (you’ll see what I mean). On to the rest of the album. “Fight,” “Dirty Work” and “Hold Back” are pretty much the same song. Sure, the riffs are different and the lyrics are, too, but the three are just ruthless aggression (© WWE) and loud noise. And “Fight” has a pretty bad solo.

“Harlem Shuffle,” which comes between “Fight” and “Hold Back” was a hit, but it’s nothing special. Then again, it sounds like a godsend coming between those two songs. A cover of a 60’s dance song, it’s got a nice groove. It sounds like the most organized song on the album (as opposed to “banged out while Mick ‘n’ Keef were fist-fighting to the death”). And I know I already wrote a bit about “Hold Back,” but listening to it again (see, the first time, I did it from memory), I have to make a few comments. WHAT THE FUCK IS THIS SHIT?!? Like, who’s singing on this track, and the hell happened to him? Oh, don’t worry, I can tell it’s Mick, but did he swallow a jar of shards of glass before he went in the studio for this thing?

Now that that’s out of my system, the next song is much more pleasing (I’m just noticing a “good-shit-good-shit-good” pattern for the first half of this album). “Too Rude” is another reggae excursion for the Stones, this time sung by Keith. Nice, calming little piece. And it works especially well, coming after “Hold Back,” whose vocals could make a person wish they were deaf (while the album’s atrocious cover could make one wish they were blind).

“Winning Ugly” comes next, and this song is the first time two songs I’d deem as “passable” come back to back to each other. The song itself is nothing special, but the simple chorus is nice, thanks to the back up vocalists, and Mick’s voice is better than it is on other parts of the album. Killer drums, too. Actually, not “killer” but “pounding.” I really don’t know how to explain. “Back to Zero” is just lame, though. Tries to be a good dance number, but Mick’s vocals just ruin it here. Sure, it’s danceable, but it’s really, really boring. So, after finally getting two decent songs back to back, they make up for it with two bland songs back to back (“Dirty Work” comes after “Back to Zero”). To its credit, though, the vocals on “Dirty Work” and better than the ones on “Fight.”

As we get to the home stretch, “Had It With” you is probably the simplest song present, some nice harp work by Mick, and it sounds like a late-60’s throwback. It’s like what “Live with Me” would sound if it were to be surrounded by shit. Cool song, though. Best groove on the record. “Sleep Tonight” is the last song, (other than an itsy bitsy piano thing done as a memorial to Ian Stewart) and the only ballad here. And it’s sung by Keith. Kind of an underrated Keith ballad, too. Very sweet and romantic.

You know who ELSE did the “Ton-o’-rockers with a ballad tacked on at the end” formula? Aerosmith. And they did it better, at least a couple of times. All in all, this album ranks below average thanks to half the songs being less-than-decent, and none of the songs being really outstanding to make up for it.

Steel Wheels

Rating ("1-10" or "CLASSIC"): 7
Best Song: Mixed Emotions
A really, really 80's album

Following Dirty Work, the Stones decided to break up (again) and go their own ways. That didn't work, so they got back together, permanently this time, and staked a comeback with the 1989 album Steel Wheels.

And it's an album that tries REALLY hard to impress. The first single and first song, "Sad Sad Sad" tries its hardest to be catchy and catch on to be a hit… It worked, too, but "Mixed Emotions" is better. It's less forced. Another highlight? "Slipping Away," one of the few GREAT Keith ballads Keith ever sang. His voice is poor and has no range, but that man has more soul than…. Well… some other singers. "Rock and a Hard Place" is another killer. "Almost Hear You Sigh" is a pretty song, too.

So what's left of this album? Not much. Nothing bad enough to make me want to turn off my CD player and chuck it out a window, but nothing that could bring this album up to the level of Let It Bleed, either.

The problem with the record is that it really tries to please. Too hard. You have over-produced 80's power ballads that now sound dated. You have standard Stones rockers, sung by Keith and Mick… All of it is highly calculated, and sounds rather forced. Then again, the Stones had been fairly cold, somewhat calculated for a long time. They're used to it by now.

As a whole, the album shows that the Stones are back after a 3-year break up, and that's all it really had to say. They wouldn't really return to form until 1992's Voodoo Lounge, but Steel Wheels was a good start to rebuilding their reputation after Dirty Work. And Jagger's solo records.

Voodoo Lounge

Rating ("1-10" or "CLASSIC"): 8
Best Song: You Got Me Rocking
RAWKIN!!!111!~!11!!!!!

So, the band is BACK. Steel Wheels and Flashpoint brought them "back to form." He Rolling Stones had a successful tour behind them, a "comeback" album, and, while bassist Bill Wyman surprisingly left, they were more energized and determined than they had been in years. Subsequently, their album was their best studio effort in years.

Hell, if even has the first "great" anthem they had made in a long, long time: "You Got Me Rocking." Beats the hell out of the similarly titled "If You Can't Rock Me." It's a simple song with an undeniably brilliant riff. Not the most creative chorus of all time, but it works its charm in a live setting.

And the rest of the album is fairly solid, too. Everything here either rocks or slows things down. "Love Is Strong" has some great harmonica work, courtesy of Mick Jagger. "Sparks Will Fly" is some raunchy fun. "Brand New Car" is some bluesy car sex stuff… It's still clever and fun, no matter how many people do it. "I Go Wild" is just dandy. "Suck on the Jugular" is an experimental dance track… Nothing offensive about that.

The middle of the album is mostly softer material. All of it, solid. "The Worst," in an ironic twist, is one of Keith Richards' best (or at least standout) ballads. "Out of Tears" is gentle and beautiful. "New Faces" isn't bad. "Moon Is Up" is slightly psychedelic, but not as much as "Blinded By Rainbows" a magnificent highlight.

"Sweethearts Together" is a nice soothing ballad, while "Thru and Thru" is another Keith ballad. Finally, "Mean Disposition" is an old-school styled rocker to finish things off.

Voodoo Lounge wasn't really a "return to form" for the Stones. Other than Dirty Work, they hadn't really "left" form. This was just a confirmation that they could still make good music in their relatively old ages.

Bridges to Babylon

Coming into 1997, the Rolling Stones were old. No, really. With 1994's Voodoo Lounge, they established that they could still make quality albums, but they hadn't had a true hit in years. So, with that mindset, the Stones began work on the album Bridges to Babylon.

And they try hard to have a hit. The most obvious attempt, and one of the songs most scorned by fans, is "Anybody Seen My Baby?." It's a smooth song with obvious attempts of contemporary relevance in the form of a rap bridge. And it's an impressive rap bridge, too! Quite possibly the most idiotic thing I've ever heard, but otherwise, the song is decent.

But the album steps it up. Other than "Anybody Seen My Baby?," none of the songs are bad. The Keith-sung "How Can I Stop" is almost there, really boring, but it works as a closing song. "Might As Well Get Juiced" is almost lame, and another stab at relevance, but it's not as bad as "Anybody Seen My Baby?."

"Flip the Switch," the kick-off worked better in a live setting. Speaking of songs that worked better live, "Out of Control" turned out to be the "Midnight Rambler" of the late 90's, becoming a furious jam on stage while being an excellent song on an album.

"Saint of Me," though, is the only song here that drips of "could've been a classic." It's somewhat dark, anthem-ish, and has the catchiest chorus the Stones have come up with in years. Well, that's an exaggeration… anything involving Mick Jagger usually has a memorable chorus. But still, it's the best song here. If it had come out during their peak, it would have been looked upon with the same reverence as "Tumbling Dice." Maybe. Maybe not. You can't prove me wrong, though, so HA!

Anyway, the ballads aren't bad. "Already Over Me" is possibly the best ballad the Stones have done since "Slipping Away" in 1989. It's heartfelt and pretty… And it's memorable, which is usually a good thing. "Always Suffering" is a little less memorable, but not a real low point.

"Gunface," "Too Tight," "Lowdown," "You Don't Have to Mean It," and "Thief in the Night" round up the songs I haven't mentioned. Most of them are filler. None of them are unspeakably bad. None of them are particular favorites of too many people, either.

Bridges to Babylon is not a bad release. It's just about equal to Voodoo Lounge, maybe slightly worse, but still a fine album. Since 1981's Tattoo You, the Stones have been in a position where it doesn't matter what material put out. Their legacy is sealed, permanently. But they still put in effort in their material, so all is good.