THE ROLLING STONES: Beggars Banquet (ROCK): review / opinion to read on Music Waves

Rising to high altitudes under the effect of colored smoke can be very pleasant, but the landing is often particularly violent. The Rolling Stones were able to notice this in 1967 on several levels. From an artistic point of view with a psychedelic "Their Satanic Majesties Request" whose reception was more than mitigated. On the other hand, Mick Jagger, Keith Richards and Brian Jones have known the joys of the penitentiary internment after the discovery by the police of illicit substances during raids in parties organized by the Glimmer Twins who will benefit from a certain clemency due to their fame. More fragile, the last one mentioned however continues to get in trouble, his girlfriend having been swiped (the model Anita Pallenberg) by his own buddy Keith Richards. However, apart from Brian Jones participating in the recording sessions when he feels like it, or when buying new instruments that the producer Jimmy Miller tries as well as he can to integrate into the different songs, the Rolling Stones take advantage of these different lessons to start off on the right foot.

And as often in this kind of situation, the best solution is to go back to its roots to start again on a more solid basis. For the British, those roots have long been buried deep in the original Blues. So it's no surprise to see the quintet delve into this style in all its forms, evoking the melancholy of the touring musician on the raw, roots-driven sound of 'No Expectations' with only a few slide hits and piano notes. With its harmonica and its lewd lyrics, 'Parachute Woman' perfectly symbolizes the comeback to these origins that the quintet has made its own for so long. Last wink to the past, the Stones try again the exercise of the cover with the traditional 'Prodigal Son' of the Reverend Robert Wilkins.
And as in order to move forward, you need to have at least two supports, Richards, Jagger & Co. don't forget their folk and country roots either with 'Dear Doctor' marked by Mick Jagger's tirade imitating with humour a woman dumping her boyfriend, and 'Factory Girl' whose use of the violin sends you back to the terrace of an old ranch in the sunset.

But to summarize "Beggars Banquet" to a melancholic comeback to the styles that saw the Rolling Stones do their job and launch their reputation, would be too reductive. Because Keith Richards and Mick Jagger are real artists in tune with their time, able to integrate new elements to their music and to use it to translate the movements of the society around them. The two peaks of this album are the best examples with a 'Sympathy For The Devil' strongly inspired by Bulgakov's novel, The Master and Margarita, by making the devil speak on hypnotizing afro rhythms and haunting dervish whou-whou. On the other hand, 'Street Fighting Man' is more direct and scathing to evoke the movements agitating the students and the ghettos. Finally, and even if they are not as essential as these two titles, it would be unforgivable to pass by other tracks under silence. It is the case of 'Jig-Saw Puzzle' spreading its mixture of blues and English rock whose intensity rises on more than six minutes, larded of slide strokes thrown by a Keith Richards in full form and who gratifies us besides of one of his rare soli on 'Sympathy For The Devil', privileging as usual the efficiency to the velocity. On its side, 'Stray Cat Blues' is powerful and catchy, lacerating the listener with a few claws before going away in the darkness with arrogance.

Closing with 'Salt Of The Earth', which sees Keith Richards sharing vocals with Mick Jagger, and whose finale goes wild with the sounds of a trance-like gospel choir and epileptic piano, 'Beggars Banquet' sees the Rolling Stones getting back in shape by returning to their roots, and seems to open up a promising new era thanks to the contribution of cleverly dosed external elements. By putting their feet back on the ground, the English have narrowly avoided exploding in mid-air, even if the excess seem to be an integral part of their identity. - Official website

THE ROLLING STONES

BEGGARS BANQUET

DECCA

ROCK