interview Keith Richards
Keith Richards once humorously quipped, “Guitar is easy – all it takes is five fingers, six strings and one asshole.” Yes, easy perhaps, but few have wielded the instrument with as much imagination, grit and panache as the legendary Rolling Stone himself. Over the past six decades, the guitarist has unleashed a torrent of timeless riffs, gracing hits like Jumpin’ Jack Flash, Satisfaction, Honky Tonk Women, Start Me Up, Can’t You Hear Me Knockingand Happy.
And now, brace yourselves for a dozen more hot rocks. At the venerable age of 79 at the album’s release in October, and now 80, Richards, accompanied by his eternally youthful crew, The Rolling Stones, has put the final touches on their 24th UK (and 26th US) studio album. Lord knows, it’s been a long time comin’. Nearly eight years have passed since the release of their 2016 blues covers album, Blue & Lonesome, and twice that time since their last batch of original songs, 2005’s A Bigger Bang.
The good news is the wait’s been worth it. Packed with killer tunes and those trademark Keef guitar hooks, Hackney Diamondsstands tall among their very best work. Bold, textured and unapologetically ambitious it recalls classics like Let It Bleed(1969) and Exile On Main St(1972). The album also features guest appearances by some of rock’s greatest luminaries, including Paul McCartney, Stevie Wonder, Elton John, Lady Gaga – and even original Stones bassist Bill Wyman, who hasn’t recorded with the band for almost 30 years.
Guest cameos often distract more than they add, but The Stones have artfully deployed these music icons in surprisingly subtle and complementary ways. Wonder and Lady Gaga, for example, add just the right touch of soulful elegance to the celestial gospel rave-up Sweet Sounds Of Heaven, while Elton discreetly provides some tastefully rollicking piano on two tracks. Perhaps the biggest surprise is McCartney’s contribution. Beatle Paul, known primarily for his timeless love songs and gift for melody, goes against type and unleashes the mother of all snarling fuzz-bass lines on Bite My Head Off, an exhilarating punk rocker that tears the roof off the joint.
“To be honest, if Paul had come another day, he’d probably have been on a different song,” Richards says with a laugh. “It wasn’t calculated. It just happened to be the flavour of the month that day.”
The guitarist maintains that the album’s creation was “fun, quick and effortless”, yet he admits it wasn’t without a few tears. marks the band’s first production since the passing of Charlie Watts, one of rock’s preeminent drummers, if not the unrivalled champion, who died
