THE ROLLING STONES: Sticky Fingers (ROCK): review / opinion to read on Music Waves

When you've just made two albums of the level of "Beggar's Banquet" and the legendary "Let It Bleed", you have to believe in yourself to think you can stay on the top of the rock scene without risking a downfall. Is it their consumption of illicit substances, or is it their overflowing self-esteem? In any case, the Rolling Stones set the tone with the cover of this "Sticky Fingers", signed by Andy Warhol and now enshrined in legend. Presented at the time of the vinyl in the form of a sleeve equipped with a fly opening on a pair of pants, this illustration in itself expresses the artistic culture and the sense of provocation of those that the Beatles' separation left as the only leaders of world rock. "Sticky Fingers" also marks the complete integration of Mick Taylor, the latter participating in the composition, even if the diabolical duo Mick Jagger / Keith Richards does not bother to credit him.

It's the bluesy influences of the newcomer that bring the main evolutions since "Let It Bleed", whether it's through his slide interventions, his solos that develop longer than usual with the Rolling Stones, and a delicate touch that perfectly matches Keith's energetic attacks. The best examples are probably the magnificent ballad "Wild Horses" or "Can't You Hear Me Knocking", which begins with one of those titanic riffs that Richards is so good at, and then leads to a surprising jam during which Billy Preston's organ and Bobby Keys' sax create a jazzy atmosphere that Taylor finally gets to join with finesse, supported by a unique groove provided by Charlie Watts. Like this song, and like the previous album, we are again in the realm of the monumental from beginning to end on "Sticky Fingers".

The Stones offer us a new journey through the different faces of Rock, the whole being fleshed out by a small catalogue of artificial paradises, either speed ("Can't You Hear Me Knocking"), or the story of a guy going to do a little fix in the cellar to escape from his girlfriend ("Dead Flowers"), "Sister Morphine" having the merit of clearly stating things. But to stay in the most legal area of this opus, and apart from the traditional cover of a good old delta blues ("You Gotta Move"), "Sticky Fingers" is a new display of the Glimmer Twins' songwriting talents. Once again, the Glimmer Twins are geniuses, no matter which versus they present their racy rock.

From an unforgettable and hyper-catchy "Brown Sugar", based on one of those riffs Keith Richards is normally the specialist of, but this time coming from Mick Jagger, to a symphonic and aerial "Moonlight Mile", reinforced by a few string lines, each step is unavoidable. "Sway" is both powerful and majestic, "Bitch" is edgy and scathing, "I Got The Blues" sinks comfortably into a languid soulful blues ballad dripping with every note of a Hammond organ and Jagger's feeling voice. "Sister Morphine", written with and for Marianne Faithfull, and recorded in 1969, is strange and fascinating, with Ry Cooder's slide shining through the coloured smoke. As for "Deadly Flowers", it's a catchy country-rock tune with a chorus that you'll want to sing along to from the first listen.

The fuels that the British take are not recommended, but we have to admit that they take us to artistic heights where pleasure and wonder compete. Rage and serenity, energy and elevation, art and sex, and all of this leads to a new album that will forever be part of the history of rock! - Official website

THE ROLLING STONES

STICKY FINGERS

ATLANTIC RECORDS

ROCK