The Cavern
Rock & Words
12 X 5 (The Rolling Stones, 1964)
Artist: The Rolling Stones (A)
Recording Dates: Jun 10 – Sep 29, 1964
Release Date: October 17, 1964. UK
Record Label: Decca / London Records
Producer: Andrew Loog Oldham
Rating: 7
Era: Rock & Roll II, Early Sixties (1960-1966)
Subgenre: British Invasion
Best Song: It’s All Over Now o Time Is On My Side
Tracklist: 1) Around And Around; 2) Confessin' The Blues; 3) Empty Heart; 4) Time Is On My Side; 5) Good Times Bad Times; 6) It's All Over Now; 7) 2120 South Michigan Avenue; 8) Under The Boardwalk; 9) Congratulations; 10) Grown Up Wrong; 11) If You Need Me; 12) Suzie Q.
The Rolling Stones tone down the aggression, innovation, and power of their debut on this album. One can't help but suspect self-censorship or even pressure from their record label to create less daring sounds and lyrics than on their previous album. After all, with a successful record, it's difficult to resist the temptation of commercialism. Admittedly, it's perhaps their softest album from their early period. They would later return to that dark and furious style of rhythm and blues. But despite being somewhat more accommodating, it's a very well-crafted album, quite charming, and with excellent arrangements. The Stones undoubtedly sound much better showcasing their raw and wild side than trying to emulate the Drifters or Del Shannon and attempting to win back the respect of those adults who were horrified by the audacity of their debut. However, I feel the same way as I do about the Beatles on A Hard Day's Night: although their albums are softer and more rhythmic, the way they craft melodies and arrange songs makes even the most banal songs sound truly charming compared to most of their contemporaries.
The album loses something in terms of its blues and rhythm & blues sound, and it definitely sounds much more pop with covers like "Under the Boardwalk," "Susy Q," and "Time Is On My Side." But come on, not just any band (except Creedence Clearwater Revival) takes one of those songs and transforms it into something monstrous, somehow appropriating the original. The Rolling Stones can be charming and endearing, and they demonstrate this on this album and in other subsequent covers (like "My Girl"), without ever abandoning that dark aura that surrounds them.
This album was released in the USA before the UK due to some strange decision by the record label, Decca. The US version consists mostly of British singles and an EP released in England called 5 x 5. The rest was material recorded both on tours in the United States and during quick studio sessions during this tour, such as the jam session at 2120 South Michigan Avenue. Therefore, it differs slightly from the second UK album, which would be released a couple of months later called Rolling Stones No. 2, and where some of the repeated songs have slight modifications. For this reason, the US version has generally been considered slightly superior to its British counterpart.
The LP predictably has 12 tracks. For the slow-witted, this is predictable given the title's allusion to 12 (songs) X 5 (ungrateful musicians, Ian Stewart must be turning in his grave), although this idea was stolen from the aforementioned EP 5 X 5. On the other hand, although it's a much more colorful and pleasing album than its predecessor, the cover art shows the guys looking chilling, like a gang of thugs sizing each other up, with a rougher, darker, more threatening demeanor, and standing a few feet further forward than on the previous cover.
The album opens with a fade-in on "Around and Around", a Chuck Berry original rock 'n' roll tune where Keith shines on guitar and seems to promise the same power as their debut. We don't see much of the real Keith here, but he sounds impeccable and fierce, paying tribute to the great Chuck every second of the song. Ian Stewart's piano also shines, delivering those key riffs and sweeping scales so typical of rock & roll. There isn't a single note out of place. Even Charlie, who always sounds so understated, shines with a bombastic drum performance that adds even more power to the tremendous solo at 1:43. Mick also sounds very good, but he's somewhat overshadowed by the other musicians. An excellent opener without a doubt, it's a shame about the mixing in the production…
The second track is "Confessin' The Blues", where Jagger steals the show with his passionate and raw vocals. The Stones are undoubtedly among the best white blues musicians of this period. The way the harmonica enters at 1:30 is exquisite: WHAAAAAAAAAAAAAA Wha WHAAAAAAAAA!!! Within the song's inherent slowness, you can feel that dark and furious tone that permeates the Rolling Stones. Personally, I can't listen to this song without picturing Brian Jones, that forgotten blues purist, playing his devilish guitar in true Chicago style, biting like a shark on every note.
Next up is "Empty Heart", whose spirit can be summed up in the title. This is a jam session without much sense or structure. A simple excuse to jam for about two and a half minutes. No instruments really stand out because they're all fighting each other, overlapping and creating an unbearable mess, and even the harmonica isn't at its best. The song would be truly unbearable if it weren't so short, but it even makes you wonder why this "thing" lasts 30 seconds longer than the wonderful Suzie Q.
The fourth song, "Time Is On My Side", is a gorgeous ballad by Norman and Meade that the Stones somehow made their own with this brilliant rendition. This is proof that the Rolling Stones themselves can all look cute and adorable, like French Poodles instead of Rottweilers. The song is perfectly performed, with a sharp and clever intro from Keith and a fascinating, quite catchy vocal harmony from Mick. The backing vocals are also commendable and contribute greatly to the song's charm. The guitar isn't incendiary, but rather tranquil, appearing only with small arpeggios and embellishments, until that incisive, bluesy solo which, despite sounding more menacing, fits perfectly within the song's context. Now it's impossible to listen to it without thinking of the Rolling Stones, even though it's not one of their songs. Although it also inevitably reminds me of Denzel Washington chasing that elusive, music-loving demon…
We continue with "Good Times Bad Times" (noooo, nothing to do with the Led Zeppelin one). This track is a slow blues with very basic instrumentation, perhaps more reminiscent of old Mississippi blues. Keith even indulges in some fun with his favorite toy at the time: a 12-string guitar. The song isn't very good compared to the rest of the album; it sounds slow and boring, but at least it's worth listening to Richards' technique on this instrument.
Next up is "It's All Over Now", a much more upbeat track and one of the album's best. This is a cover of Bobby & Shirley Womacks' song, a pop tune with a solo that devilishly shifts into furious rhythm and blues, an unexpected key change, and a blazing guitar riff before abruptly returning to an almost innocuous sound during the verses. Then comes a long coda, with guitar riffs that could be considered the foundation for Pete Townshend's proto-punk guitar work or arrangements that might have inspired Ray Davies' "You Really Got Me." Richards at that time was not only one of the best rhythm guitarists around, but also a devilishly astute and agile soloist. The coda ends with a slow crescendo of all the instruments, creating a powerful finale—a truly rare experiment for the era. A great song.
"2120 South Michigan Avenue" is another jam or improvisation, but with a bit more substance than "Empty Heart." At least this one is instrumental, and the harmonica does a better job than Mick's shaky vocals in that song. Legend has it that this jam was with none other than Muddy Waters, one of their idols (so much so that the Rolling Stone song from which they took their name is by Muddy). Imagine the shock of these 19- and 20-year-old kids playing with one of their personal gods in Chicago itself… Perhaps that's why they sound a bit stiff and lacking in ideas, except for the keyboards, which have a very groovy and fun attitude.
Next up is "Under The Boardwalk", a cover of The Drifters' song. It's a beautiful ballad that would never have fit on their debut album. I absolutely love the performance, and it once again showcases a side of the Stones we rarely see. The bass intro is wonderful, with a simple yet very pleasing guitar riff. The backing vocals are fantastic, the melody catchy and very cute, particularly that falsetto in "Under the See-EEEEEEEEEA." The crystalline, flowing guitar solo at 1:50 is more than fitting for the song, without sounding aggressive or out of place.
"Congratulations" is one of the original tracks on this album, and undoubtedly the best contribution from the Jagger-Richards duo, featuring a very sweet and emotive double arpeggio, quite similar to "Tell Me" from their first album, but much more accomplished. It's curious that their best original song, at least on the first two albums, isn't a rock & roll or blues track, but rather an excellently crafted pop ballad with beautiful yet intelligent melodies and somewhat misogynistic lyrics. Well, the latter isn't surprising given the songwriting style of this pair.
"Grown Up Wrong" is another original composition, perhaps the first of many riffs Mr. Richards would create throughout his extensive career. The song is a rhythm and blues number without much of a plan. The songwriting duo still has a long way to go, but at least they show signs of continuing to try. At times, the song sounds empty and lacking in instrumentation, and even the harmonica sounds rather bland and lifeless this time around.
"If You Need Me" doesn't improve much. It's a very Motown-style ballad, and now not even the backing vocals can save Mick. The arpeggio sounds tired, as does the keyboard, which sounds very gospel-like. This is where the guys really let the band down. Just because they can play some Black music doesn't mean they can break into every Black-dominated genre with the same success.
Fortunately, the album closes with a savage rendition of "Suzie Q". The song is phenomenal, incendiary, very much in the style of their version of "I Wanna Be Your Man," but even more stylish. Mick sounds menacing and wild once again, the guitars are furious, with an incendiary solo and a bass loop that gives an impression of "elasticity" but offers no respite. The only downside, and I agree with 99.99999% of the reviews, is that the song is over in a flash and ends just as you're starting to enjoy it. At the end of the second solo, when you think another verse is coming, the song vanishes without warning, not even reaching two minutes and leaving you wanting more. A great closer, which leaves us with the same feeling as the opening track.
12 x 5 isn't the best album from the Stones' early period, but it's undoubtedly a solid, catchy record, where the best tracks are well-crafted pop with clever arrangements. The Rolling Stones would return to their dark, fierce, rebellious, and menacing sound after this album, but here they at least reveal a somewhat hidden side and demonstrate that they're not as bad as one might have suspected. The album is recommended, not only for understanding the band's origins, but also because it's quite easy to listen to, and it's practically impossible not to like the best songs on the record.
By Corvan
Dec/22/2008
