It has surely been a long time coming. The last album containing original Rolling Stones material landed in 2005 – a whopping 18 years ago – with the only subsequent studio release being 2016’s Blue & Lonesome (alongside the occasional one-shot, such as the excellent Doom and Gloom). At this point, you could argue that The Rolling Stones simply have no further need to make new music. As a band, as people, and as a rock ‘n’ roll institution, they have absolutely nothing left to prove while, given the febrile nature of the music industry, Hackney Diamonds is surely no money-making exercise. Yet here it is, a passion project from a group of musicians who have consistently walked it like they talked it. It is a chance for these statesmen of rock ‘n’ roll to come together, united by their shared musical bond and by their sense of grief in the passing of their friend, Charlie Watts. As such, it can be seen as an affirmation of a life in music and as a gift for fans, and it should be treasured.
And it is a treasure. Featuring the very last recordings of Charlie (who is featured on two songs, with Steve Jordan handling drums elsewhere), Hackney Diamonds was recorded in conjunction with Andrew Watt (Eddie Vedder, Ozzy Osbourne, Iggy Pop), and Don Was (Rolling Stones, Stone Temple Pilots, Gregg Allman); and features contributions from Elton John, Lady Gaga, Paul McCartney, Stevie Wonder and Bill Wyman, all of which contributes to the feeling that this is a celebration, and a lively one at that.
Kicking off with Angry, the first emotion conjured by Hackney Diamonds is excitement. From the punchy production – modern, but with a slight touch of grit on bass and guitar – it throws the album nicely into gear and, honestly, as much as I’d been looking forward to it, I hadn’t expected the band to sound quite so urgent as they do here. Indeed, while the Stones may have nothing to prove, they’re on the rampage nevertheless, and there are still things these veterans can can teach the younger generation about rocking with soul. Next up, the lazy shuffle of Get Close pitches woozy, subtly phased guitar against an energetic vocal from Jagger, and you can’t escape the feeling that this is the sound of a band having fun in the studio, the contempt of familiarity nowhere in evidence, despite this being the band’s 24th effort. A track that only gets bigger as it progresses, throwing in a sax solo, weighty keys and a monstrous chorus along the way, it’s a cracker.
Having suitably wowed the audience, the band slow the pace for Depending On You, arguably the Stones’ most Dylan-esque piece in many years, only for the explosive Bite My Head Off to take you entirely by surprise. Blasting out of the speakers with a vitality last heard when The Hives surged onto the scene with their Stones-influenced garage rock, this is Jagger and co. (joined by a rambunctious Paul McCartney), reminding the world that they’re a rock band first and foremost, and it’s easy to imagine the malevolent glint in Keith’s eyes as he trades licks with Ronnie on this absolute belter of a track. The band keep the pace taught on the stabbing Whole Wide World, which throws a few subtle effects at the guitars without losing the elemental power present since the band’s earliest releases. Mick, meanwhile, is on sterling form, delivering the line “you think the party’s over, when it’s only just begun” with that remarkable mix of poignancy and defiance that only he can manage, before a solo rips through the mix with a fury that is breath taking. The first half of the album concludes with Dreamy Skies, a delightful, slide-swept throwback to Let It Bleed, beautifully played and sung with heart and conviction. It’s a perfect side closer and it just goes to show that the Stones, who have seen more formats come and go than most, still sequence in terms of the vinyl with which they made their name.
Opening the second half of the album, Mess It Up is one of two tracks featuring Charlie Watts. With its rock solid beat, and punchy vocal, it’s a strong track with a killer chorus that will stick in your head for hours. Charlie remains for Live By The Sword, his voice heard on the count in, and it’s a magical rocker, stepped in old-school Stones atmosphere, aided no end by the presence of Bill Wyman and Elton John, who join the band for four wonderful minutes that hark all the way back to the majesty of Goats Head Soup. Quite possibly the album’s greatest moment (although there’s a lot of competition), what better swan song could a musician have than playing a role in one of their band’s greatest tracks in years? This is the Stones absolutely at their hard driving best, and it’s got a spontaneous vibe to it that proves wholly infectious. Next up, Driving Me Too Hard is another song that nods to the band’s past, but with its muscular production it manages to be both timely and timeless, Keith and Ronnie throwing in a few country licks for good measure. Speaking of Keith, all the best Stones’ albums see him take the mic and, here, he leads Tell Me Straight, a slow and sweetly vulnerable track, his voice wreathed in reverb – sonically mimicking the cloud of smoke he so often inhabited on stage. Joined by Lady Gaga, last seen strutting her stuff on Gimme Shelter (Grrr live), and Stevie Wonder, Sweet Sounds Of Heaven is a Stones ballad in the classic mould and, just as they did on stage, Jagger and Gaga make a fabulous pairing – sparking off each other with remarkable chemistry. The album finishes, aptly, with a cover of Muddy Waters’ Rolling Stone Blues recorded in stripped-down style, with just scratchy guitar and Jagger’s harmonica for company. It’s a fitting end to a phenomenal album and, if this is the band’s final effort (although, on this strength, let’s hope it isn’t), then it’s hard to imagine a better farewell.
Hackney Diamonds is a monumental triumph. Where latter days Stones’ albums have had a tendency to wander (despite some great moments), Hackney Diamonds is a blisteringly concise album packed with nothing but great moments. Ruthlessly stripped back to their rock ‘n’ roll core, the Rolling Stones sound utterly vital throughout, and the collaborations are tastefully chosen, with each guest bringing something of themselves to the party. It’s an emotional release, too, celebrating the band’s rich musical history and their late drummer, Charlie Watts, whose spirit inhabits the twelve songs on offer, even if he only played on two.
I’ll be honest, I wanted Hackney Diamonds to be brilliant. However, even with all the good will in the world, I had not expected it to be quite this brilliant and it emerges not only as one of the best Stones albums in years, but also as one of the highlights of 2023. A genuine treasure, Hackney Diamonds is well-named and an absolute masterclass in rock ‘n’ roll. Utterly essential. 10/10
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