ALBUM REVIEW: The Rolling Stones - England's Newest Hit Makers

    17 October 1961, for some, is just as important and historic a day as 6 July 1957, and rightfully so - it was this day that Mick Jagger once again met Keith Richards. The two had been childhood friends, but separated after Jagger's family moved a bit of ways away. On this day, though, the two reunited, and were unified by their common love of blues and rock records. Not long after meeting and rehearsing a number of songs with fellow guitarist Dick Taylor (and eventually starting a quintet with two other friends for a time), the group eventually got good enough to be introduced to Alexis Korner's Blues Incorporated band, which then included keyboardist Ian Stewart, drummer Charlie Watts, and slide guitar expert Brian Jones. Naturally, you can see how these pieces will fall into place - Stewart, Taylor, Jones, Jagger, and Richards became the first iteration of The Rolling Stones, named almost on the spot after a Muddy Waters song. In time, Stewart found his role in the band slightly demoted, Dick Taylor was sacked and one Bill Wyman took his place as a bass player, and drummer Charlie Watts was finally brought on as a full member - Jagger, Richards, Jones, Wyman, and Watts. The Rolling Stones were fully complete, and they had quickly made themselves known as one of the hottest blues groups in London. Likewise, one finds their debut in both the UK and US filled largely with covers that range from Willie Dixon standards to Chuck Berry rock and rollers. Through it all, the Stones prove themselves a tight-knit performing group that does well in making a song their own (even if they still can't write a good song on their own).

    Given that this early on, the Stones are essentially a souped-up cover band, it makes sense that they'd at least hone some of their skills in the field, and for the most part they do it fairly well. The model and respect for their blues idols is apparent, as well as an undying love for Chuck Berry, not only in their great rendition of "Carol", but in one of the album's immediate highlights with their rendition of Bobby Troupe's classic "Route 66", which is modeled after Berry's own 1961 rendition of the song. Even with Berry's version as a base, the Stones' version is wholly original - it's a faster pace, driven by Watts' chugging backbeat and Keith Richards' clean guitar playing, and Jagger's confident vocal delivery, both cocky and laid back at once. Serving as the second track on US releases of their debut, it works in tandem with the album's other opening three-way punch; their cover of Buddy Holly's "Not Fade Away" is another rendition that picks up the pace, even if it does hold closer to the original, and a rendition of Willie Dixon's "I Just Want to Make Love to You" almost plays like a different song, filled with a rapid tempo and frantic desire that contrasts the slow burn of lust from the original Muddy Waters version. These are the best of the Stones' covers on this album, although that's not to write off moments like the slunky energy "I'm a King Bee" or the slightly more soulful "Can I Get a Witness", but these don't have quite the same power - putting the original Marvin Gaye version of "Can I Get a Witness" up against the Stones version is slightly a losing battle, even if The Stones do it enough justice. This is also not to say the Stones themselves can't write, as the group's "Nanker Phelge" alias brings us the assuredly great side closing "Little By Little", which shows that, even from the early days, there was potential in the group's songwriting.

    That being said, Jagger-Richards had a long way to go if they wanted to catch up to Lennon-McCartney, and it shows. Of the three songs written in house by the group, two of them leave a whole lot to be desired. There's the instrumental, "Now I've Got a Witness", which is ultimately more uninteresting than it is outwardly bad, but it isn't exactly the most inspired instrumental piece in the world. Then again, I'd argue the Stones aren't exactly known for their fantastic instrumental pieces. Then there's "Tell Me", which plays like Jagger-Richards attempt at their own "All I've Got to Do" or "This Boy", but ultimately it fails vocally, lyrically, and melodically in almost every way. Clearly, they had some ways to go. Just because the originals leave something to be desired doesn't mean that all the covers are safe picking - "You Can Make It If You Try" can't hit the same emotional highs of the original Gene Allison rendition, nor does it have the power and energy of the later Sly and the Family Stone cover from 1969. Perhaps that's an unfair comparison, but I think it's still worth saying. I also can't help but feel this is a slightly front-loaded album, especially given the unstoppable opening run of three, albeit even that run of three is followed by the just okay cover of "Honest I Do," which has some particularly out of tune sounding instrumentation - really, it sounds like they could've done another pass through on the song before releasing it, because in this state it's more embarrassing than anything.

    Such is the habit of first albums, is it not? Rarely do debuts come out the gate as realized as they get - Jimi Hendrix, Beastie Boys, Oasis, The Beatles, and a handful of others serve as an interesting exception to the rule. Usually, a debut is a place for a group to get some initial footing, even if it is on shaky ground. The Rolling Stones' debut is not the worst case scenario for a debut - if you want that, go listen to Bowie's '67 album. Still, the young blues group proves that they have a lot of growing to do on this debut, even as they do show their worth throughout in playing some great rock and roll music. If they wanted to be the greatest rock and roll band in the world, there would be some changes needed, but ultimately their debut, while not quite as sharp as some of their contemporaries, holds up nicely - even some weak moments can't hold back the fact that when they are on, they are on.

RATING: ✯✯✯✯✯✯✯✯✯✯

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