The Rolling Stones – Foreign Tongues
Following the sad passing of Charlie Watts in 2021, The Rolling Stones have had their busiest few years of releasing material in many decades.
Now, less than three years after the release of the patchy Hackney Diamonds, comes Foreign Tongues – a weighty, punchy double album (on vinyl) choc-full of riffs, hooks and enough classic Stones tropes to satisfy anyone who abandoned them after their 70s heyday.
With fourteen songs and a 62-minute running time, the album is, in parts, quite a romp. Whilst there is nothing that matches their greatest moments (which is perfectly understandable) there are some very enjoyable songs here, and much to like and return to.
Opening with the swampy blues of 'Rough And Twisted,' the first five songs are as good a run of tracks as the Stones have presented in forty years.
'In The Stars,' 'Mr Charm' and 'Divine Intervention' are all crackers, while third track 'Jealous Lover' sounds (very deliberately, one suspects) like a long-lost Stones classic that wouldn’t have remotely sounded out of place on Emotional Rescue.
Now, less than three years after the release of the patchy Hackney Diamonds, comes Foreign Tongues – a weighty, punchy double album (on vinyl) choc-full of riffs, hooks and enough classic Stones tropes to satisfy anyone who abandoned them after their 70s heyday.
With fourteen songs and a 62-minute running time, the album is, in parts, quite a romp. Whilst there is nothing that matches their greatest moments (which is perfectly understandable) there are some very enjoyable songs here, and much to like and return to.
Opening with the swampy blues of 'Rough And Twisted,' the first five songs are as good a run of tracks as the Stones have presented in forty years.
'In The Stars,' 'Mr Charm' and 'Divine Intervention' are all crackers, while third track 'Jealous Lover' sounds (very deliberately, one suspects) like a long-lost Stones classic that wouldn’t have remotely sounded out of place on Emotional Rescue.
Foreign Tongues sounds like a band acutely self-aware of their own mythology, bringing together so many of the sounds and styles that have served them well in the past – we have the blues, the rock’n’roll, the country honks and the quasi ‘Miss You’ disco grooves.
Keith Richards and Ronnie Wood, for their part, weave together seamlessly throughout while long-time session man Daryl Jones’ bass serves the songs at every turnaround.
Additionally, Paul McCartney guests on bass on 'Covered In You' and The Cure’s Robert Smith adds some guitar to the aforementioned, and excellent, 'Divine Intervention.'
More discerning ears may hear other guest spots from Steve Winwood, Benmont Tench and Chad Smith. Charlie Watts himself posthumously occupies the drum stool for 'Hit Me In The Head.'
Quite predictably the biggest ‘feel-jump’ is in the drums.
Steve Jordan’s playing drives the album, and what he may lack in Charlie’s swing and feel, he adds in punch and power. Indeed, the album leaps out of the speakers – heavily compressed to sound great on modern phone speakers and headphones – by some way the most popular way music is heard these days, especially among the younger generations (these boys know what they are doing to appeal to the youth).
Andy Watt’s production may not be to everyone’s taste (his drum sound and use of over compression was an ill fit on Paul McCartney’s recent solo album) but here Mick Jagger has the voice and swagger to rise to every kick drum beat and snare hit.
Indeed, at the heart of it all is Sir Mick.
At 82 years old, his voice and personality bestride this album like the Colossus of Rhodes (remarkably, the man is arguably sounding better than ever).
And whilst he may never have had the lyrical genius of a Bob Dylan, his rock’n’roll poetry is as catchy and full of sexual pith and vinegar as ever.
Keith Richards takes lead vocal duties on 'Some of Us,' a likeable but unremarkable standard country ballad that admittedly gets better with every listen (much like a lot of the album, which I was partial to after a first preliminary anyway. Always a good sign).
Sir Keef’s voice was always a little thin and wheezy, so it’s hard to discern any clues as to his condition from the one track (the cancellation of the band’s 2025 Summer gig plans led to rumours of Richards’ flailing health), but here he sounds exactly like Keith Richards. Phew.
Nevertheless, this is still the best Rolling Stones album in many a moon (heck, I’m even warming to the appalling Ronnie Wood cover artwork).
Had the quality control of the first half been sustained through the entire album, it may even be their best since Tattoo You, but it does suffer under the weight of its own length (the album maybe goes on for two or three tracks too long, with a cover of Amy Winehouse’s 'You Know I’m No Good' and Chuck Berry’s 'Beautiful Delilah' both fairly unnecessary amidst some perfectly fine Stones originals).
You could edit this album to make a killer 40-minute single platter but, it seems, as Mick and Keith sense the sun setting on their glorious careers, they are more productive than ever – and who can begrudge them wanting to give us as much music as possible before the lights go out.
Apparently, they even have enough material for a quick follow up next year.
May these Stones keep rolling for a while yet.
Adam Norsworthy
Guest Reviewer For FabricationsHQ
Adam Norsworthy is guitarist of R&B rock and roll band The Milk Men, who recently released their sixth, and best to date, studio album The Milk Way.
Adam also released his latest singer-songwriter solo album, Shadow On The Hill, earlier in the year.
www.themilkmenmusic.com
www.adamnorsworthy.co.uk