The Rolling Stones' 'Hackney Diamonds' - Album Review

There are few bands who can genuinely be considered rock royalty, but The Rolling Stones are certainly one. Whilst rock and roll music existed before The Rolling Stones, they were likely one of the first bands to really dirty it up. Acts like Buddy Holly, and even The Beatles (at least early on), always sounded squeaky clean, but The Rolling Stones' love of down and dirty American blues added a rootsy side to their take on rock and roll - and arguably everything dirtier and heavier which followed can somewhat be traced back to the sharp riffing, gravelly vocals, and strutting grooves of The Rolling Stones. Formed back in 1962, the band have now been active for over 60 years. They have never split up in that time, despite something of a hiatus in the mid-1980s, and for many years they were very prolific. In recent years they have not released too much, but they have generally remained a pretty busy live act - especially considering the advanced ages of the band's main members now, as well as the death of drummer Charlie Watts in 2021. Considering the extravagant and, at times, self-destructive lifestyle which some of the band members have led, too, it is amazing that The Rollings Stones are still around at all. Few thought that guitarist Keith Richards would make it to old age - and at the time of writing frontman Mick Jagger is 80. As with many acts who have not released a new album for a while, there were often rumours of a new studio album from The Rolling Stones. However, with the band's last release of original material, 2005's A Bigger Bang, coming 18 years ago, I am not sure that I ever really expected them to write anything new. They did release a blues covers album, Blue & Lonesome, in 2016, but earlier this year the band announced, at a press conference at the Hackney Empire in London, that they would be releasing their 24th studio album (26th for Americans, due to the strange, fragmented way that the band's early work was released in the US) Hackney Diamonds later in the year. I have never really been much of a fan of the band, but the release of a new Rollings Stones album felt like a bit of an event. I am familiar with some of their classic late 1960s and early 1970s albums, as well as most of their big hits, but they are not a band whose catalogue I have ever truly digested. Still, the thought of a new Rolling Stones album was quite an exciting one - so I got it pre-ordered, and I have been enjoying it since it dropped last month. Produced by Andrew Watt (California Breed), who was recently responsible for getting two surprisingly decent albums out of Ozzy Osbourne, Hackney Diamonds sounds like quintessential The Rolling Stones. There are some modern pop sounds and production techniques which surface throughout the 12 songs here, but the band's trademark growl and relative rawness largely sounds intact. Jagger sounds great despite his age, and the riffs of Richards and long-time fellow guitarist Ronnie Wood are as cutting as ever. Watts laid down the drums on two of the songs before his death, with long-time collaborator of Richards, the band's current touring drummer, and session ace Steve Jordan playing on the other 10. Former bassist Bill Wyman even contributed to one of the songs, too, although much of the bass playing here was split between Richards, Wood, and Watt. A few guest appearances add colour throughout, but these do not detract from the band's core sound - and generally Hackney Diamonds plays it pretty straight.

The first three songs here were all co-written by Watt, but generally the classic Jagger/Richards writing partnership reigns supreme throughout the album. The album kicks off with its lead single Angry, a pretty up-tempo and jagged rocker that is very much straight out of the band's classic songbook. Jordan's pounding drums open the album up, and the first of the many riffs here is very much in-character. Richards' staccato strumming fits perfectly alongside Jordan's groove, whilst the subtle bass licks often fill the gaps - with Jagger singing in something of a call-and-response with the main guitar hooks. The verses have an old-school feel, then, with long-time touring musician Matt Clifford adding some piano for depth occasionally, but the chorus is a bit more pop-orientated with a bigger sound and some subtle vocal harmonies. The Rolling Stones having a pop side is nothing new, though, and many of the choruses here are pretty catchy. This is the first big hook of the album, and Jagger sounds great as the guitars take on a slightly smoother sound. A brief, cutting, bluesy guitar solo returns to the song's harder rocking roots - but overall the mix of strident rock and pop smoothness is a good representation of what is to follow throughout the rest of the album. Get Close, the first of two songs here to feature Elton John on the piano, is not quite as brash as Angry, but it still has plenty of groove. Watt's bass and Jordan's drums lay down this groove from the off, whilst the guitars of Richards and Wood swirl around this interlocking, slightly Doobie Brothers-esque shuffle. There is less of a pop sheen here, too, and the chorus here maintains this bluesy groove - albeit with some subtle vocal harmonies adding depth to Jagger's howls. Jagger still sounds excellent despite his advanced years, though, and he cuts through the mix - with the chorus seeing him oozing a bit more emotion than is perhaps typical. Adding to the song's groove, some saxophone courtesy of James King later elevates the piece further - and it adds a little smoothness to the groovy little number. Depending On You, which is fleshed out by some Hammond organ courtesy of long-time Tom Petty sideman Benmont Tench, slows things down somewhat - with some chiming clean guitars opening things up, over which Jagger sings in a more whimsical manner. The track acts as the album's first ballad, but there is still lots of the band's trademark sound here. Clifford's piano joins the fray later, adding some strong barroom melodies, whilst Jordan's subtle drum patterns create another shuffle. Slide guitar and the aforementioned organ add plenty of colour, whilst a slow-burning guitar solo befits the slower pace of the ballad. Bite My Head Off returns to something more hard rocking, and it is the spikiest piece on the album up to this point. Driven from the off by the fuzzy bass playing of Paul McCartney (The Beatles; Wings), the snarling hard rocker creates another big groove early on - and largely rests on this thanks to the snappy guitar riffing and barrelling piano melodies throughout. Jagger sounds fired up here and, despite some pretty silly lyrics, he sounds like a man half his edge. His rough voice has always suited harder songs such as this, and the song shines thanks to his frantic and spitting vocal performance. A short bass showcase shines the spotlight on McCartney briefly, before a pretty up-tempo guitar solo is full of bluesy charm.

Whole Wide World reins it in somewhat, but the song is still pretty rocking. The opening guitar chugs are pretty tight and energetic, but this is a song where the band's pop side rears its head somewhat. This does not bother me, but some of the production techniques used during the chorus in particular do feel very modern - and perhaps clash a little with the band's core sound. Purists may take umbrage at this, but the band have often enjoyed a pop melody - even if some of the backing vocals and subtle synths here do feel a little forced. That being said, though, the chorus is very hooky - and it is hard not to get it stuck in your head despite the modern trappings. The rest of the song is classic Rolling Stones, though, with the simple guitar stabs creating that proto-punk energy that the band often embodied - whilst another excellent guitar solo helps to dirty up the piece despite the pop sheen which has been added to the chorus. Dreamy Skies slows the pace down again, and the song opens with distant acoustic guitar strumming and some pretty organic-sounding slide guitar. Despite the slow-burn of the song, those who found the pop additions to the previous track will certainly enjoy how raw this piece sounds. Jordan's drums are distant, and sound like they have been taken from a recording from the 1940s, whilst there are very few studio tricks used here. The guitars sound retro and full of bluesy character, whilst Clifford's piano and some more subtle Hammond from Tench fill in the gaps somewhat. This is clearly a song where the band wanted to hark back to their earliest days and their influences, though. It is a true old-fashioned blues tune, and Jagger's ragged voice sounds great against the raw guitar backdrop - and he adds some aching harmonica as the song comes to a close, whilst Richards and Wood interlock in a loose fashion. The next two songs feature Watts' drumming, and Mess It Up is another pretty brash rocker with a strong groove. Watt's bass mixes nicely with Watts' drumming, and the brash guitar stabs create a powerful verse which Jagger sings over with ease. Of all of the songs here, though, this is the one with the poppiest chorus. I quite like it as it is very catchy, but it is slightly jarring - especially given how typical and raw the opening groove is. The chorus has a real bounce to it, and there has definitely been some effects added to the backing vocals which are very modern-sounding. The chorus does not contain much of the essence of The Rollings Stones, then, but Jagger's vocal performance is still strong - even if the later Toto-esque bridge section feels too funky to really feel at home here. Live by the Sword feels more like it though. Both Watts and Wyman feature here, briefly reuniting the 1975-1993 iteration of the band. John is featured again on piano, too, and his boogie playing adds to the song's raw, bluesy grooves - whilst the pulsing bass of Wyman gives the band back its trademark strut. Given how produced the previous song was, this one feels much rawer and typical of the band's classic sound. The guitars are brash throughout, and the barroom piano is typical of so many of the band's hits from the early days. Jagger sounds as cutting as always vocally, spitting out the lyrics in a staccato manner at times, whilst the pretty lengthy guitar solo injects further blues goodness.

Driving Me too Hard is another more laid back piece, and acts as something of another ballad with gentle rolling piano melodies and some bluesy slide guitar licks. It is perhaps a little on the rocky side to genuinely be a ballad, though, but there is enough smoothness and atmosphere here to set the song apart from much of the rest of the album. There is a much stronger keyboard presence here, with the piano often joined by some more atmospheric synths and organ to help create quite a bit of depth. Jordan's drums still pack a decent punch, though, and the strut of the rhythm section contrasts nicely with the plentiful keyboards and a more restrained vocal overall from Jagger - who sings in a more emotional manner than is typical. Tell Me Straight sees Richards taking the lead vocally, and he sings the slower track is his usual off-beat manner. Richards has often sung a song or two on the band's albums, and his different delivery ensures that his vocal contributions stand out. Vibe-wise, the song is actually quite similar to the previous number. It is another relatively atmospheric piece, with a dense keyboard backing and the odd bluesy piano motif. There is a bit more of a rawness on show, though. Jordan's drums feel live and loud, adding a snapping shuffle to the slower piece, whilst the guitar solo further channels the band's blues credentials. It is another decent slow-burner, and it is always good to hear Richards sing as his strange vocal style helps to add a different edge to the album. The album's longest track, Sweet Sounds of Heaven, follows - and it features both Lady Gaga on vocals and Stevie Wonder on various keyboards. In fact, it is Wonder who opens the track with some jazzy piano melodies - and the smouldering blues number builds from this with Jagger singing over Wonder's musings in his own inimitable style. Clifford adds organ for some retro depth, but it is the piano that drives everything here - with the guitars used sparingly early on. Gaga joins in on the second verse, adding a soulful counter to Jagger's rough delivery - and the two harmonise together really well. The band have used soulful backing vocals before, and Gaga's inclusion works well here as expected - and she really starts to let rip as the song moves along. King adds some more saxophone as the song builds further, and by the time he has joined in the track is the biggest-sounding on the album. It is an expansive song with a lot going on, and it recalls the epics of the band's past - with the final third or so descending into something of a jam with adlibbed vocals and the whole band really rocking out. The album the comes to a close with a version of Muddy Waters' Rolling Stone Blues - which is likely where the band got their name. It acts as a short coda to the album and is extremely raw, with very little production at all. The guitars and harmonica sound fuzzy and straight from an early blues recording - whilst even Jagger's vocals take on a similar feel. The song is clearly a tribute to the band's main influences, and it works as a fitting close to the album in my opinion. Given the ages of all involved, it is likely that Hackney Diamonds will be the band's final album - so signing off with Rolling Stone Blues seems appropriate. If this is indeed to the band's final album, then I think that The Rollings Stones will have capped off their legacy nicely with this strong effort. Despite a few odd production choices here and there, the album stays true to the band's classic sound - and all of the songs here are memorable in one way or another. There really is a lot to like here, and it is always good when a veteran band releases something strong - when many had likely written them off.

The album was released on 20th October 2023 via Polydor Records. Below is the band's promotional video for Angry.