Corvan's Cavern
Rock & Words
HACKNEY DIAMONDS (The Rolling Stones, 2023)
Artist: The Rolling Stones (A)
Recording Dates: Feb 2019 – Jan 2023
Release Dates: October 20, 2023. UK
Record Label: Polydor
Producer: The Glimmer Twins, Don Was and Andrew Watt
Rating: 8
Era: Blues, Hard Rock & Roots
Subgenre: The Great Transition
Best Songs: Seet Sounds Of Heaven or Angry
Tracklists:1) Angry; 2) Get Close; 3) Depending On You; 4) Bite My Head Off; 5) Whole New World; 6) Dreamy Skies; 7) Mess It Up; 8) Live By The Sword; 9) Driving Me Too Hard; 10) Tell Me Straight; 11) Sweet Sonds Of Heaven (Feat. Lady Gaga); 12) Rolling Stone Blues.
2023’s Hackney Diamonds arrived after an 18-year gap without a studio album of original material from Their Satanic Majesties, counting from 2005’s A Bigger Bang. In between came Blue & Lonesome(2016), a return to blues roots that served as a reminder of the band's musical origins, though it can hardly be considered part of the group's core catalog. Here, the Stones return to original songwriting, doing so with modern production (perhaps TOO modern), an unlikely guest list, and above all, a level of guts that bands 40 years their junior would envy.
I find it admirable that the Rolling Stones continue to release studio albums after a career spanning more than six decades. Not because Mick, Keith, and Ronnie still have something to prove, nor because we ought to celebrate every release from a legendary band with great fanfare as if it were a historic event, but simply because the fact that they still have the drive to play rock and roll deserves recognition. Especially in an era where the genre has lost its former prominence and become a niche interest. I saw them on the Olé Tour ten years ago, and everyone swore it would be their final tour. Then again, people have been saying that since 1972...
To be honest, I had intended to review Foreign Tongues, an album from 2026. Buuuut, I feel that record is something of a sharper twin brother to Hackney Diamonds, so it’s worth starting with the latter; they complement each other in many ways (and, in a sense, tie into several points I raised regarding Paul’s Boys Of Dungeon Lane). Don’t worry, you won’t have to wait long for the Foreign Tongues review. After 2016’s Blue & Lonesome, which consisted entirely of blues covers, the Stones had been mulling over the idea of a new album featuring original material, but the sessions just weren't clicking. They tried to get serious about it in 2020, but the pandemic got in the way. They attempted to pick up the work again in 2021, yielding the drum tracks Charlie recorded, but once again, nothing concrete materialized. In 2022, Paul McCartney suggested they work with producer Andrew Watt (a bit of payback for the Allen Klein recommendation, perhaps? Haha), who finally got them working in earnest in early 2023. The album’s consistency likely stems from years of accumulated songs, allowing them the luxury of cherry-picking the best ones and taking the time to arrange them without rushing.
Regarding McCartney’s latest record, I remarked that it’s hard to review albums fresh off the press. In this case, some time has passed, yet I’m still not sure how objective I can be. The bottom line is that I like it, and it has grown on me with repeated listens. Just like with Paul, I feel the Stones suffered a dramatic slump after 1981’s Tattoo You, a rut they didn't really escape until Voodoo Lounge (which I think is a fantastic record) and Bridges to Babylon. By the time A Bigger Bang arrived, they sounded more like a caricature of themselves. Here, I think they recapture that energy and spontaneity. Yes, at times it seems they’re trying a bit too hard to sound like "The Stones," and Andrew Watt appears to be pushing them to sound modern simultaneously; yet overall, I don't think they’ve sounded this good since ’94 or ’97.
And as with Paul, it’s hard to tell whether you’re comparing them against their past selves or against the void in today’s rock music. In any case, it’s a breath of fresh air to hear those crackling guitars and that kick-ass attitude we haven't sensed from them in so long. And the surprising thing is, we didn't have to wait another 18 years, until the Glimmer Twins were nearly 100, for them to release another album!
When listened to alongside Foreign Tongues, Hackney Diamonds takes on a new dimension. The two works can almost be seen as twin albums: they share a sonic personality, modern production, and an intent to reclaim various facets of the band's identity. I think Foreign Tongues is slightly superior, but both belong to the same creative era—as if we were listening to different chapters of one extended session. Foreign Tongues offers a sense of continuity in terms of sound, style, and production, but more on that later. On another note, this is the first album without Charlie Watts, who passed away on Tuesday, August 24, 2021, at the age of 80. Charlie had already stepped down from the tour due to health issues, marking the first time he had missed Stones concerts since 1963, and had designated drummer Steve Jordan as his replacement; Jordan was a member of Keith’s solo band, and Charlie trusted him to handle live duties while he recovered. Sadly, however, he never did recover. No official cause of death was released. I remember feeling absolutely devastated when I heard the news. Charlie didn't seek the spotlight, yet he was a vital part of the Stones' sound; countless drummers and bands immediately acknowledged him as one of the greats, the kind of player whose signature style was "less is more." Someone once remarked, though it’s an old saying, that they admired Watts because he was the only drummer in the world capable of keeping Keith Richards in check. The old gods are dying...
Steve Jordan took over the drum kit for the album's sessions, though without becoming an official Stone, much like bassist Darryl Jones, who has held his role since 1994. The band incorporated recordings of Charlie on a couple of tracks as a tribute. Bill Wyman also returned for one of these songs, briefly reuniting the Rolling Stones' 1969 quartet lineup, the one that existed just before Mick Taylor joined the band. But the album also features other stellar guests: Elton John, Stevie Wonder, Lady Gaga, and Paul McCartney himself!
The result is a solid rock album, featuring several standout moments alongside a few less memorable tracks. However, putting things into perspective, we are talking about a group that released some of the most important albums in rock history during the 60’s and 70’s, and which, even in the 90’s, managed to deliver very solid work that kept pace with the times. At that stage of their career, the Stones could still combine craftsmanship, personality, and a certain ambition to explore new musical paths. Hackney Diamonds doesn't quite reach that level, but neither is it a product that relies solely on the group's reputation. It is a record that perhaps shines all the brighter because of “when” it was released. It isn't the "gem" many reviews claim it to be, but it certainly isn't bad.
In fact, the best thing about the album is that it sounds like a rock band that still wants to play rock. There are riffs, hard-hitting drums, crackling guitars trading licks, and a Mick Jagger who seems to draw energy from nowhere (we know where Keith gets his- wink, wink). They don't sound like a tired band merely fulfilling an obligation to release an album, the way they did with Dirty Works or Steel Wheels. We aren't looking at a new Sticky Fingers here, nor a work that will alter the Stones' status in the slightest, but it is a record that reminds us why the Stones have survived so long bearing the title "The Greatest Rock and Roll Band in the World", without anyone ever challenging that claim.
The album opens with one of its best tracks. “Angry” is a hard-hitting, direct song built around a riff with plenty of character (albeit one reminiscent of “Start Me Up”), a solid rhythm section, and a chorus designed to stick in your head like gum, especially that “Don’t Get Angry With MEEE!” hook we’ve all used on our significant others at some point. The Stones sound loose and right at home, delivering that signature blend of swagger, rhythm, and melody they’ve mastered over the ages, amen. Jagger’s performance has just the right amount of cheekiness to feel fresh, carrying his trademark touch of venom. On the other hand, Andrew Watt’s production gives it a modern sound, though I’m not entirely sold on that aspect. The guitars have a gritty edge, and Ronnie and Keith display great chemistry in their interplay, capped off by a strong solo around the two-minute mark that builds alongside the backing vocals toward a spectacular finish. The track served as the lead single and succeeded in generating plenty of anticipation. While it may not rank among their all-time classics, it’s a high-energy way to kick off the album. The music video, by the way, is a gem for a variety of reasons.
“Get Close” is a more melodic track, a sort of mid-tempo ballad featuring a vocal performance that retains Mick’s provocative spirit. Elton John appears on piano here, adding movement and a touch of boogie-woogie that fits the song well, though his contribution feels a bit too understated, almost wasted. The collaboration came about because Watt was also producing an album for Elton; one thing led to another, and there you have it. It’s a pleasant, melodic song that doesn't quite fully explode, and it features a sax solo that feels like a nod to Bobby Keys, the Stones’ longtime saxophonist who passed away in 2014.
After that initial burst of energy comes “Depending on You”. This is a proper ballad song about heartbreak with a simple structure, and perhaps even a touch saccharine. Jagger manages to reveal a vulnerability that contrasts with his usual rock-star swagger. Pianos, slide guitar, and organs enter the mix, building into a slow crescendo that culminates in string arrangements and backing vocals. The chorus is lovely. It serves as a reminder that the Stones were never just a band defined by riffs and attitude; they have always known how to incorporate ballads, country, soul, and other styles. That said, the song doesn't quite reach the level of their best slow-tempo compositions. It feels a bit like an attempt to recreate "You Can’t Always Get What You Want". It is pleasant and well-crafted, though the melody lacks the punch needed to rank among the album's highlights.
Next up, we get the Stones at their most brash and irreverent. "Bite My Head Off" is a punk-rock blast with a deliberately insolent attitude and an instrumental backing seemingly designed to be played at full volume. I’m not usually a fan of their punk tracks, but the riff here is simple and strong, the performance is aggressive, and the song’s greatest asset is the sense of urgency that drives the entire piece. Plus, Paul McCartney is on bass, adding a layer of historic appeal—a Beatle playing with the Stones. I remember when Charlie died, there were memes joking that the Stones were missing a drummer and a bassist, while the Beatles were left with *only* a drummer and a bassist. Well, a collaboration involving Ringo might have been asking too much. The important thing is having McCartney on bass; while he fits seamlessly into the band's sound, he does so discreetly, without trying to hog the spotlight (the riff doesn't really call for it). However, he does launch into a distorted mini-bass solo at the 2:15 mark, vaguely reminiscent of the bass sound on "Think For Yourself", followed immediately by Keith’s incisive solo. Legend has it that as soon as the take was finished, Paul exclaimed, “I just played fucking bass with the Stones, and I'm a fucking Beatle.” Ultimately, the song works precisely because it doesn't worry too much about sophistication. It’s a fun, powerful track with an attitude many young bands would envy. If “Angry” opens the door, this track confirms the album has plenty of fuel in the tank, and it works on its own merits, not just because of Macca’s involvement.
“Whole Wide World” keeps the momentum going with sharp guitars and a rhythm reminiscent of the Stones’ faster-paced side. It features a solid riff that sounds modern, thanks, I think, to a touch of phaser. The structure is straightforward, with a catchy chorus designed to keep things moving. The issue is that it feels like “Streets of Love” on steroids. I like the song, it has a killer solo, plenty of melody, and a great breakdown at the 2:35 mark, but it does strongly recall that 2005 ballad, and it starts to become apparent that the album has a relatively limited palette. Were it not for that, I’d mark it as a standout track, though it remains one of the album's highlights.
“Dreamy Skies” is one of the album’s most tranquil moments. The song leans toward country and the American rural acoustic tradition, creating a relaxed, dreamy atmosphere thanks to sweet slide guitar work. Mick also incorporates the harmonica, reinforcing that rustic vibe. The change of pace makes sense, as the chorus itself suggests. While the atmosphere is pleasant, the melody lacks the hook and punch needed to make the track a truly memorable interlude. Aside from the sweet guitar interplay, the song doesn't quite justify its nearly five-minute runtime, and it feels like something we’ve already heard on Voodoo Lounge. The change of pace is welcome, but the result feels lackluster, ultimately becoming a tedious and overly long track.
Next up is “Mess It Up”, which picks up the tempo with a more danceable rhythm section and a funk-infused feel. Watt’s influence is evident in the off-the-cuff opening, sounding like a rehearsal where the producer might have shouted “we’re rolling” to kick them into the groove. It’s a danceable track, though it perhaps leans too heavily on reminders of “Miss You” with that octave-based disco bassline. The song also holds sentimental value, as it features drums recorded by Charlie Watts during sessions prior to his death in 2021. It’s not a bad song, and it doesn't sound like the Stones merely trying to mimic their 1978 disco-era selves; rather, it sounds like they are trying a bit too hard to craft a dance track for a 2023 audience. I imagine they faced similar criticism back in ’78, and “Miss You” went on to become an essential concert classic. But while this track isn't bad, I don't think it will age quite as well.
“Live By The Sword” is another track that bridges the present and the past. Charlie Watts’s drumming makes a return, and this time Bill Wyman, the band’s original bassist, participates in a Stones recording for the first time in over 30 years. Elton John once again contributes piano work that fits perfectly with the song’s rock spirit; he shines a bit more here, though it would have been great if the guitar solo at the 1:40 mark had played more like a dialogue with the piano. Musically, the track is essentially classic rock and roll, featuring piano, a driving rhythm, and a straightforward vocal performance. It isn't a masterpiece, but it stands out as a highlight of the album's second half; nostalgia works in its favor, too, given the presence of the band's original rhythm section, something that has been sorely missed.
“Driving Me Too Hard” is another mid-tempo track that leans on melody and a structure that is... how should I put it? Ah, yes: generic. It possesses that classic rock character the Stones have perfected over decades, a laid-back vibe, a catchy chorus, and standout guitars. The thing is, it’s hard not to notice a certain recycling of ideas, and the song isn't exactly memorable; it shares the same mood as the filler tracks found on albums from *Babylon* onwards. In any case, it’s a competent and enjoyable little tune.
Keith Richards takes the mic on “Tell Me Straight”, an introspective ballad that contrasts with the other rock tracks. His gravelly, weary voice is fitting for a song that seems to look toward the future with a mix of uncertainty and resignation. The thing is, well, I adore Keith, and "Happy" is one of the highlights of the Stones' entire catalog, but generally speaking, with a few exceptions (like "Thru and Thru"), the songs he sings all feel like slow ballads of resignation. And they aren't very memorable. It feels like the kind of track the Beatles used to give Ringo to sing: just harmless filler. In my opinion, it’s one of the album's weakest points. The song has an interesting atmosphere, but it fails to develop a melody or progression that allows it to build. Richards' voice has character, though that isn't enough to make it a memorable composition.
And then comes the album's big moment. “Sweet Sounds of Heaven” is an expansive, seven-minute-and-twenty-two-second track rooted in soul and gospel. The Stones step away from the standard rock format for a moment, taking their time to build something with greater emotional depth—a slow crescendo that begins with a lovely musical dialogue between guitar and piano, the latter played by Stevie Wonder. Mick opens with characteristic flair, delivering a slow, enveloping, and hypnotic melody as the instrumentation gradually builds. Lady Gaga enters around the two-minute mark, almost shyly at first, trading lines with Mr. Jagger. Her responses grow increasingly powerful until, at the 2:30 mark, they are locked in an epic vocal duel that keeps intensifying. Lady Gaga does far more than make a merely decorative appearance; she brings an intensity that mounts as the song progresses. Wonder, meanwhile, provides a harmonic foundation that helps craft a spiritual atmosphere, switching from piano to organ to accentuate the gospel feel. At 4:22, there is an instrumental bridge featuring horns and guitar arrangements. At 5:10, it sounds as though the song is ending, one can even hear Gaga laughing with satisfaction, but it seems they let the tape roll and decided to keep jamming. Wonder drops in electric piano notes, and Mick and Lady Gaga resume their duel, until she ultimately steals the show during the majestic coda. One might assume the collaboration with Gaga was intended to attract a different audience, yet the song feels organic and majestic rather than manufactured. Yes, it evokes Merry Clayton’s performance on “Gimme Shelter,” but in this instance, the comparison is entirely positive. Jagger proves his voice can still sustain a passionate performance, while the band gives the song room to grow without rushing it. This is the moment where the album reaches its greatest musical and emotional scope, and it also demonstrates that the Stones can still surprise us when they allow themselves to step outside their more predictable comfort zone.
The album closes with “Rolling Stone Blues”, a cover of the Muddy Waters track that takes the group straight back to its roots. Following the collaborations and more elaborate production found on other tracks, this song offers a rather stark conclusion, putting the blues front and center with a performance that requires no fancy arrangements. In fact, it stays quite faithful to Muddy’s original version, featuring a somewhat swampy production style, Keith playing guitar parts that are very similar to the original, and Mick adopting that black vocal affectation, particularly on the word “well.” Is it a nod to the origin of their name, or to Brian Jones, who chose it after spotting the song title on a record just before an interview? I find the choice of this track to close the album deeply symbolic: ending with a cover like this brings things full circle. After more than sixty years, the band still finds a reason to return to the musical language that originally inspired them. It may not be a particularly earth-shattering finale, but it is a coherent one. Rather than trying to compete with the grandeur of “Sweet Sounds of Heaven,” the track serves as a simple, direct farewell. Perhaps even they didn't know at the time whether this would mark the end of their recorded output, which would have been highly symbolic.
Anyway, when this record came out three years ago, there was a running joke that the best thing about it was Sydney Sweeney. Ha! – gold star for anyone who got that reference. But seriously, Hackney Diamonds is a good Rolling Stones album. It isn’t a late-career masterpiece, nor a record that belongs on the same pedestal as the albums produced by Jimmy Miller. Nor does it seem to match the consistency of their best 90’s moments, a time when they could still blend experience with a greater sense of exploration and risk (a mid-song rap that actually works?). Still, it would be unfair to say it’s good simply out of nostalgia. Admittedly, Watt’s production doesn’t quite win me over, though I can’t put my finger on exactly why. But "Angry" and "Bite My Head Off" prove the band can still sound fierce and fun, while "Sweet Sounds of Heaven" delivers one of their most inspired moments of the century. The weaker tracks keep the album from maintaining that high standard from start to finish, but overall, the record has enough personality to justify a listen. And to be enjoyed.
It’s also important to consider the context. We’re living in an era where rock is no longer the dominant genre it was for decades. Hearing the Stones play these songs is a breath of fresh air these days. Not because everything they do demands celebration, but because they are still capable of crafting songs that feel alive, fueled by guitars, grit, attitude, and an identity that doesn’t rely on damn algorithms.
By Corvan
Oct/13/2026
