There is a blindly-accepted mythology that began as soon as the 70s ended. The myth goes like this: The Rolling Stones were a scrappy London R&B band that rode the first wave of the British Invasion, had some monster singles, did a classic mid-60s album (Aftermath), stumbled briefly with a psychedelic Beatles knock-off (Their Satanic Majesties Request), then righted themselves, found an excellent producer in Jimmy Miller, and made the Holy Quadrilogy — Beggars Banquet, Let It Bleed, Sticky Fingers, and Exile On Main Street — each an irrefutable cornerstone of their massive legacy and four of the greatest rock albums ever made.
And after that — Some Girls aside — it all went to shit.
The “Ultimate Classic Rock” website, the internet’s click-bait custodian of lazy rock factoids, perpetuates the well-trodden path, describing the first post-Exile album, Goats Head Soup as “the end of the Stones’ classic era, with two more increasingly careless albums following until the band got back on track five years later with Some Girls.” This sentiment has been robotically repeated ad nauseam for almost forty years now.
The Stones themselves even bought into the narrative, self-deprecatingly naming a compilation of their post-Exile material Sucking In The Seventies.
Supposedly, the three albums between the mighty Exile and the fluke disco/New Wave-era smash of Some Girls represented a trough of mediocrity, but I’m here to tell you that those three albums — the aforementioned Goats Head Soup, along with It’s Only Rock ‘N Roll, and Black And Blue — are totally underrated. Classics? Maybe I’d stop just shy of that. But they have an adventurous spirit and willingness to mess with the Stones’ formula a little, and an air of breezily coked-up, rock-god Dionysian decadence impossible to replicate in any other era. Every track, even the weak ones, has something at least interesting about it, which is more than I can say for some of their 80s albums (the true trough of mediocrity, in my opinion –buy me a drink and raise the topic of Dirty Work.)
And for two of these three albums, the Stones still had the services of “second” guitarist Mick Taylor, a Clapton-esque blues virtuoso, whose jazz-tinged soloing lifted many of these songs to a new level. Although Keith always claimed his 70s heroin habit did not slow him down much, the instrumental line-ups on these songs frequently tell a different tale. He’s just not there on about a sixth of them, and on several more he’s just croaking out backing vocals, or strumming a single sloppy rhythm guitar buried in the mix, or plunking on the bass (the Stones’ actual bassist, Bill Wyman, was somewhat minimalized on these albums, his role frequently usurped by Richards or Taylor).
For better and worse (see below), this era was Jagger’s version of the Rolling Stones. His lyrics were some of the best he ever concocted, and the empty space left by Keith was filled by his own guitar work, which grew more confident with every album. Sadly, these albums are tainted in a lot of people’s mind by Jagger’s increasing buffoonery. The whirling dervish of the ‘69 concert stage was now a glam-rock self-parody (this reached its nadir with the “Dancing In The Streets” video of ‘85 before he finally dialed it back for the Stones’ more recent tours.) So…try to hear these albums without picturing Jagger’s eye-shadow and spangly onesies with the necklines that plunged to the pubes, or the band as a whole’s incredibly dated visual aspect during this period (despite the images I’ve gone ahead and inexplicably included.)
Goats Head Soup is often described as the “hangover” after the wild party of Exile On Main Street, and according to the myth, the drop-off between the two is steep. But at the time, Exile was considered something of a sprawling disappointment, and the hazy, bleary sounds of Goats felt much more of a piece with its predecessor. Jimmy Miller was still producing (for the last time), and some of the songs pre-date the Exile sessions.
Britain’s tax laws forced the band to spend a large part of the year outside the country, and the Exile sessions (in the French Riviera and L.A.) began the tradition of recording on foreign shores as much as possible. In November 1972, the Rolling Stones and pianist Nicky Hopkins set up camp at Dynamic Sound Studios in Jamaica. Their chief road manager, “sixth Stone” Ian Stewart, also served as occasional pianist, and he was there too, of course, but he only played on songs he liked. He did not dig most of the Goats Head material. With a major narcotics case against Richards still pending, Jamaica was the only suitably cool country that would give them an extended work visa.
Although they were all reggae fans (especially Keith), they admitted they were not ready to pull off any real reggae tracks in the same studio where so many of the genre’s classics were made, including the Harder They Come soundtrack and the early Bob Marley records. (Some would say, based on the mixed reception their later reggae-based tracks received, that they never achieved that state of readiness.) Nicky Hopkins departed at the beginning of December, and Billy Preston was flown in to spice things up with his gospel organ and clavinet.
The sessions continued in May and June 1973 at Olympic Studios and Island Studios in London, where they added elements such as brass, strings, the congas and shakers of noted Ghanaian percussionist “Rebop” Kwaku Baah, and additional percussion by mysterious and eccentric electronic music pioneer Nik Pascal.
The album, released in late August 1973, opens with “Dancing With Mr. D,” invariably described by naysayers as a tepid, silly sequel to “Sympathy For The Devil.” But apart from name-checking the Horned One himself, the two songs aren’t really similar. The frenzied samba of “Sympathy” is in no way referenced by the grinding party funk of “Mr. D,” and while Jagger doesn’t come close to his “Sympathy” lyrics, lines like “Down in the graveyard where we have our tryst/The air smells sweet, the air smells sick/He never smiles, his mouth merely twists/The breath in my lungs feels clingy and thick” have a certain eerie flow and Halloween-y charm.
This is followed by what may be my favorite song on all three albums — “100 Years Ago.” “Went out walking through the wood the other day/And the world was a carpet laid before me/The buds were bursting and the air smelled sweet and strange/It seemed about one hundred years ago…don’t you think it’s sometimes wise not to grow up…” A mid-tempo quasi-ballad about the power of memory that breaks down almost to a full stop (“Call me lazybones…”) then upshifts into a furious instrumental outro, with Mick Taylor leading the charge. This is right up there with “Tumbling Dice” and “Brown Sugar” for me.
“Coming Down Again,” a slow-burner sung by Keith at a snail’s pace over a watery bed of phased guitar and Nicky Hopkins’ moody piano, perfectly captures the feeling of waking up with the dry heaves, alone, confused, and regretful. The mood is quickly shattered by the unfortunately-titled “Doo Doo Doo Doo Doo (Heartbreaker)” with its urgent traffic-jam horn section and spine-chilling urban jungle lyrics about “accidental” police shootings and poverty-stricken children OD’ing in the gutter. “Angie” was the big radio hit from the album, and despite the inclusion of lots of down-tempo stuff, this is the only song that could be classified as a traditional ballad. Nicky Hopkins once again shows why he was the most in-demand session pianist of the era, providing tasteful accents to the gently dueling acoustic guitars of Richards and Taylor.
“Angie” closes side one, and side two kicks off with “Silver Train,” the one song on the album that sounds the most like a typical Rolling Stones riff-rocker. It was originally recorded two years before the other songs, and was handed off to Johnny Winter, who recorded a blistering version that spurred the Stones to re-record theirs at the end of the sessions in London and put it on the album. “Hide Your Love” dates from the same late-stage London sessions. The simple, hypnotic number is based around Jagger’s echo-heavy piano vamping, and is built up into a primal Delta blues pastiche, Robert Johnson-style. “Winter” is another one of those tracks that critics of this period in the Stones career have to admit is a beauty. Similar in tone to Sticky Fingers’ “Moonlight Mile,” you can almost feel the chill and see your breath as the song glides along on a stream of orchestral strings.
As much as I like them, each of these albums has a total misfire buried in its track listing. “Can You Hear The Music” is a plodding, discordant mess that uses some world-music/psychedelic flourishes to cover up its lack of direction. The album closes with “Star Star,” a Chuck Berry-inspired, old-fashioned bit of rock & roll that sounds like something the ‘64 Stones would have played (except for the lyrics.) Ian Stewart finally lets loose on the ivories in his trademark boogie-woogie style.
One web reviewer calls the Goats Head Soup “the album that set the Stones on a course of mediocrity from which they have yet to return…” Then goes on to say: “It’s not that Goats Head Soup is bad, in itself…” Well, then, what the hell? “[It] set no musical agenda…did nothing new.” Which is totally incorrect. The Stones were never AM radio balladeers before. “Angie” changed that, whatever you think of the song itself. (I love it.) They were beginning to explore the funk genre, aided by sideman Billy Preston’s churning clavinet and Taylor’s wah-wah guitar (“Dancing With Mr. D,” “Doo Doo Doo Doo Doo”). And they crossed the boundaries of what could and couldn’t be stated in a rock lyric with the gleefully sleazy (and brutally explicit) “Star Star” (original title: “Starfucker.”)