By 1976, The Rolling Stones were already synonymous with rock ’n’ roll. Leaning even further into their blues-based rock styling, The Stones would also add influences from funk and reggae music, thereby showing their willingness to experiment with various styles. This adaptability has, arguably, been a core reason for their success throughout the decades, but it logically isn’t the only reason for the Stones’ continued relevance within the music industry.
Part of the shifting style can be attributed to Mick Taylor’s departure and the need to find a replacement guitarist. Black And Blue’s uniqueness, as a result, is that it became a testing ground for several very talented guitarists prior to the Stones bringing Ronnie Wood into the fold. Yes, Wood’s inclusion would forever change the direction of the Stones, but before that transition took place, the songs that Wood would play guitar on included Cherry On Baby, Hey Negrita, and Crazy Mama. He also appeared as a backing vocalist throughout the record, but the Stones also worked with guitarists Harvey Mandel (Hot Stuff and Memory Motel) and Wayne Perkins (Hand Of Fate, Fool To Cry, and Memory Motel); each to much success. The result of these varied collaborations is that Black And Blue is not only a standout within the Stones’ extensive discography, but is an eclectic mix of songs that make it one of the most compelling releases of all time.
While there is no doubt as to The Rolling Stones' musical talent, Black And Blue is also notable as being self-produced by Mick Jagger and Keith Richards under the pseudonym The Glimmer Twins. Yes, it wasn’t the first time the Stones would self-produce themselves, but it’s their most impressive self-produced album. Naturally, that is a subjective opinion, but as you listen to the album, consider the strengths of the songs and the way they flow haphazardly throughout as the album’s sequencing shouldn’t work, yet it grows on you the more you listen to the record.
Speaking of the listening process, while I was fortunate to have owned, for a period of time, the Studio Albums Vinyl Collection 1971-2016, I can say that while the half-speed master of Black And Blue was lovely, and I also didn’t mind the 2009 CD reissue, but the 2009 lossless remaster from Apple Music is in every way the physical counterparts’ ideal peer. Granted, the vinyl re-issue may have had a little more of a rounded sound, due to the format’s mastering requirements, but what’s telling is that every time I listen to Black And Blue, via the stream, I’m not missing the physical releases that I once owned. That may be blasphemy to some, but as the Apple Music release is also an Apple Digital Master, I find them to be incredibly enjoyable to listen to and in some cases, such as this, they match or exceed the physical counterpart. The takeaway is that regardless of how you choose to listen to this classic album, you’ll have a thoroughly enjoyable musical experience.
Hot Stuff kicks the album off with a disco/funk feel that makes you question if you’re really listening to a Rolling Stones album. Well, you are, and that genre-bending approach works exceedingly well; particularly as it embraced the musical trends of the 70s. No doubt, fans will forever be torn regarding Hot Stuff as it was quite the departure from their traditional blues-rock roots, but the guitar soloing throughout ensures that elements of their core styling remained intact. Perhaps the only criticism that can be directed at the song is that it’s a tad long and is, subsequently, a little repetitive.
Hand Of Fate brings the Stones back to their bluesy roots with a gritty and powerful sound. Keith Richards' signature guitar riffs propel the track forward, while Jagger's lyrics paint a vivid picture as the song's raw energy and relentless pace make it a standout blues-rock anthem.
Cherry Oh Baby shifts the sonic direction of the album, yet it’s extremely compelling and the detour into reggae demonstrates the Stones’ ability, and willingness, to experiment with different influences. If nothing else, Cherry Oh Baby adds an eclectic mix to an album that can’t easily be pigeonholed.
Memory Motel is one of the album’s highlights and is one of the greatest ballads ever recorded, by anyone. As the narrative and musical bed slowly unfold, you’ll be swept away by Memory Motel as it’s simply unforgettable.
Hey Negrita was always going to be a tough sell following the smoothness of Memory Motel, but by the time Jagger’s lyrics enter the mix, the upbeat nature of the song transitions the mind to this solid album-only tune; one that is a little overproduced and would, arguably, have been more appealing had it been exclusively a rock-only tune.
Melody, with a touch of blues and jazz influences, again shifts the tone of the album but it works so well that you likely won't skip a beat when Melody comes on. It’s also a song that I dare say Charlie Watts would have thoroughly enjoyed recording; due in part to his love of jazz music.
Fool To Cry is another of the Stones’ incredible ballads and is a perfect companion to Memory Motel. There’s no doubt in my mind that Fool To Cry and Memory Motel are core reasons why Black And Blue remains a standout release amongst the Stones’ incredible discography.
Crazy Mama closes the album on an energetic note with a blues-infused rock number that has some killer riffs, a thoroughly enjoyable overall rhythm, and dynamic vocals that, when combined, become a fitting conclusion to the diverse musical journey of Black And Blue.
No matter how you view Black And Blue, it stands as a testament to the band's enduring musical legacy. With a dynamic fusion of blues, funk, and rock, each track unveils a different facet of their versatile sound, yet there isn’t a bad song to be heard. Black And Blue, subsequently, remains a must-listen, showcasing the Stones' ability to adapt and experiment while maintaining their timeless rock essence and status as true pioneers within the music industry.