With rumours of a new album set for release in mid-2026, it’s the perfect moment to look back at The Rolling Stones’ Hackney Diamonds, their first album without Charlie Watts. Watts’ drumming, however, can be heard on “Mess It Up” and “Live By The Sword”, but performing in Watts’ place, for the majority of the record, is Steve Jordan, an accomplished and exceptional drummer in his own right. Despite the lineup change, Hackney Diamonds remains a Rolling Stones album from the first note to the last and is amongst their greatest creative works. In some respects, as much as we’d all love to see another album of new material, consisting of the leftover songs from these recording sessions, I feel Hackney Diamonds is, in a similar manner to Alice Cooper’s The Revenge Of Alice Cooper, a release that offers an idyllic closing chapter to a spectacular career.
Released in 2023, Hackney Diamonds is The Stones’ 24th studio album, in a career that spans an astonishing six decades. Yes, this record could also be considered their 26th studio release, if we consider the US release schedule, but given The Stones’ UK origins, I’m calling it the 24th. Nevertheless, Hackney Diamonds is significant as it represented an 18-year gap, without a release of original material, as Blue & Lonesome (2016) was a covers album, and their last original material release was heard on 2005’s A Bigger Bang. Yes, they had released new songs, such as “Doom And Gloom”, “One More Shot”, and “Living In A Ghost Town”, but Hackney Diamonds proves that the era of the playlist, and its focus on individual songs, is no longer the stranglehold it once was.
With a runtime ideally matched to the single LP length, you’ll quickly find a connection with many, if not all, of the album’s 12 tracks as the conciseness and flow meld easily with one’s soul. The album artwork, however, takes a bit of getting used to as its over-the-top styling may be fitting for the era, but isn’t necessarily indicative of The Rolling Stones. Add to that the multitude of variants, which were a collector’s nightmare, and what you’ve got is a release that is musically aligned with The Rolling Stones, but one that simultaneously could have come straight out of the Taylor Swift production mill. Granted, the release of different editions is nothing new, but with 43 different vinyl editions to choose from, it’s excessive and quite frankly unnecessary.
The other problem, aside from giving the most dedicated of fans FOMO, is that this release schedule artificially inflates sales numbers. Granted, in the modern era, sales of any artist, on physical media, is nothing more than a blip on the radar, but this is one practice that I wish was restricted because many peers, and independent artists, do not have the resources to release such volume and are at as much of an disadvantage as they are in the streaming world where playlist inclusion often determine success. This aspect, however, shouldn’t take away from what is an exceptional release, one which would go on to win a Grammy Award for the Best Rock Album, but it does make one question just how popular certain releases have been, when fans and collectors strive to collect multiple copies.
As it pertains to the recording, mix, and mastering aspects of the album, it has been mentioned broadly online that the CD is unlistenable, and while I’ve yet to hear that particular edition, the Apple Digital Master, delivered as a Hi-Res Lossless release, is absolutely pushing the limits of Apple’s mastering guidelines. Yes, Hackney Diamonds is a loud release, but the tech giant’s mastering specifications still pull the overall recording and presentation back in line, thereby allowing for a thoroughly enjoyable listening experience.
While I haven’t heard a vinyl release of this record either, that particular format generally dials in loud masterings for a smoother and more relaxed listening experience. Still, despite the hot mastering choices, it’s indicative of a Rolling Stones’ release which features their raw rock and roll approach, that comes through loud and clear, even if the soundstage is a little boxed in. In a strange dichotomy, this sonic presentation gives the album a bolder styling that is closer to a live performance than a studio recording.
This boldness, however, is reduced when listening to the Dolby Atmos mix. Yes, the soundstage is deeper than the stereo mix and is a little more dynamic, but my preferred edition remains the core stereo recording as I find it to be more in line with my expectations of how a Rolling Stones record is supposed to sound. Nevertheless, if you choose to listen to the Atmos mix, you will get a greater appreciation for the layered production as elemental aspects, especially the backing vocals, are far more pronounced.
The bottom line, as it pertains to sound quality, is that Hackney Diamonds will likely appeal to longtime fans and newcomers alike for it’s got the flair of their 70s-era combined with modern day recording styles and influences; thanks in part to Andrew Watt’s guidance in the production chair. If you can get over the loudness aspect of the recording, you’re in for a treat! But, as always, don’t take my word for it, give the album a listen as we take a look at the songs that make up this, soon-to-be classic, release.
Angry launches the album on the right note with an aggressively charged, punchy riff. Reminiscent of their greatest rock numbers, “Angry” is unapologetically Rolling Stones’ and is the modern equivalent of their unique and highly celebrated sound. While it may not be a classic yet, give it a couple of decades and “Angry” will be amongst the Stones’ most notable tunes as it possesses a Tattoo You-era styling with up-to-date production values.
Get Close slows the tempo somewhat with a looser presentation than the highly strung “Angry”, and while it isn’t a standout, per se, “Get Close” has a funky-jazz feel to it that is highly compelling.
Depending On You is classic Stones, and is another reason why Hackney Diamonds is a modern classic, as The Rolling Stones haven’t sounded this good, arguably, for decades. Yes, it plays to the softer side of the band, but the Stones have never been what I’d call hard rock, so this classic rock tune is nothing short of a sensational masterpiece.
Bite My Head Off picks up the tempo with this funk-driven punk-inspired number. Included on bass is Paul McCartney, for the first time on a Stones’ record, and his distorted bass is perfectly suited to this tune. His inclusion adds a level of attitude that only peers, and friends, vibing off each other, could achieve. “Bite My Head Off” is, ultimately, one of the best songs in their collective careers.
Whole Wide World continues the energy of “Bite My Head Off” but not only is it Stones’ 101, but it reminds me of Midnight Oil and is one song I’d love to see the Australian rockers cover. A driving rocker with a sense of urgency is an apt description, as “Whole Wide World” is an incredible tune and one that will be relevant long after the Stones have closed the door on their storied career.
Dreamy Skies shifts the tone to that of a slow country-blues vibe, but the album’s sequenced so well that it isn’t a jolt to the senses; if anything, you’re expecting a slightly more relaxed tune and “Dreamy Skies” delivers.
Mess It Up will find you head-bopping and toe-tapping along, that is, unless you’re on your feet dancing to this number that features Watts’ backbeat. Jordan is an exceptional drummer, but Watts’ styling, combined with the rock and roll nature of The Rolling Stones, offers a special element that simply can’t (and shouldn’t be) replicated. It makes “Mess It Up” one of the most appealing songs from the record and one of the catchiest tunes The Rolling Stones has ever recorded.
Live By The Sword also features Watts on drums and sees Bill Wyman return on bass guitar after a three-decade-long absence. Add to that a piano element by none other than Elton John, and what you’ve got is a highly compelling tune that acts as a bridge between the modern Stones’ styling and that which came before, particularly from the 70s. While it may not be a standout, “Live By The Sword” is a killer album-only number, one that makes Hackney Diamonds so appealing.
Driving Me Too Hard, with its tight riffs, catchy chorus, and straightforward production, makes one think immediately of classic Stones. That isn’t a negative aspect, however, for as much as the creative freedom of artists is a great thing, often resulting in unique creative endeavours, there are times when going back to one’s core is of benefit and “Driving Me Too Hard” is the sonic equivalent of going home.
Tell Me Straight is a masterful song that sees Keith Richards on lead vocals. His weathered vocals offer a level of authenticity that contrasts beautifully with Jagger’s more flamboyant style, but it’s also one of his greatest performances.
Sweet Sounds Of Heaven includes Lady Gaga on vocals, but this is Gaga like you’ve never heard her before. Yes, she’s an incredibly versatile artist, but something sounds off. If she hadn’t been listed as a contributing artist, you’d likely not make the connection, as her usual vocal cues are missing. Nevertheless, “Sweet Sounds Of Heaven” is a solid tune that, in a rare case, has received far more recognition than it deserves.
Rolling Stone Blues sounds inherently different to the rest of the recordings on Hackney Diamonds, but for good reason, as it’s a cover of Muddy Waters’ original, "Rolling Stone"; a song that was highly influential to The Rolling Stones’ origins. Its sonic presentation also differs as it’s a stripped-down recording and was the only song from the record that was recorded to analogue tape. The result is an interesting sonic patina that will stay with you long after the album has ended. It isn’t necessarily the strongest tune from the record, but given its influential heritage, one can’t help but sit and reflect on what a sensational album this is, and what a long-lasting career the British rockers have had.
Overall, Hackney Diamonds is everything you’d want from a Rolling Stones release at this stage of their career, as it’s confident, reflective, and still brimming with that unmistakable rock and roll spirit. Should it prove to be the final chapter for the band, then it closes their storied career perfectly with a collection of songs that not only make it a great album, but also honour their past and reinforce their legendary status.