Reviewing Guns n’ Roses latest last week revived my interest in their most obvious comparison, The Roll- ing Stones. I hadn’t listened to them in quite some time, and it was quite refreshing after the sledge- hammer subtlety and lack of songwriting smarts of Guns n’ Roses. Don’t make too much of this compari- son either, GnR aren’t even in the same area code as the Stones were. Also, I make quite a few criticisms here, but their only relative to the incredibly high level of quality the Stones were at at the time. Any- way, I had the urge to write about a great band, rather than a frustratingly unrealized and bombastic one. So here’s my list of the Rolling Stone’s five best al- bums, listed in chronological order. My picks areas safe as milk, but I can’t help that; the critics are : right.

Aftermath- A greatalbum butitdoeshave flaws: — ‘*Going Home’’ isn’t interesting enough to warrant an eleven minute running time, the misogyny isstill present (‘‘Stupid Girl’’ and ‘‘ Under My Thumb’’), **Lady Jane’’ is pompous, and there’s some needless instrumental experimentation. Also, the band isn’t as proficient as they'd laterbecome, Jagger’s voice isn’t as convincing, and the band’s playing isn’t as unified. Still, the songwriting is at an early peak, highlighted by ‘‘Paint It Black’’ (I’m sick of that one). Somewhat overrated but still a very good album.

Beggars Banquet- An excellent album that many cite as their finest. Personally, I love this album, but I prefer the humanism that would emerge in their mu- sic. A rather threatening, sinister album in which the love songs sound like sick, warped jokes, and the rest is permeated with a dark side. Probably their most consistent album. The opener, ‘‘Sympathy forthe Devil’’, is one of their greatest songs.

Let It Bleed- The transition piece between the Londor years and the Atlantic years. Contains some of the Stone’s best music, most notably ‘‘Gimmie Shelter’’ and ‘‘You Can’t Always Get What You Want’’. Not as consistent as Banquet, but I like the best here mor than the best on Banquet. Some of the stuffhere is — Just okay, and ‘Country Honk’’ is lame compared to the original ‘‘ Honky Tonk Women’’ (another one tha I’ve heard once too often). Nonetheless, a great album.

Sticky Fingers- My personal favorite probably be- cause it’s the first Stones’ album I bought, and poss bly because it’s the band at their most restrained. Here they display a newfound mastery of the ballad (‘‘Sway’’, ‘‘ Wild Horses’’, and *‘Moonlight Mile’”’ are gorgeous), some beautiful string arrangements, and the eloquent guitar of new member, Mick Taylo: By this time the songwriting had entered the strato- sphere. There are weak spots: ‘‘ You Gotta Move’’, like most of their straight blues turns, isn’t terribly interesting, ‘‘Can’t You Hear Me Knocking’’ is fantastic for the first couple of minutes but it ends i a longwinded jam, and ‘*Dead Flowers’’, like most:

_ their countryish songs, isn’t at the same level as the

rest of the material: However, the rest of the album as good as any rockn’ roll out there. The band

reaches a new level of proficiency; while not slick, the music attains a balance between proficiency and imperfect perfection. This is music filled with pain compassion, and warmth. Pretty transcendant stuff. Exile On Main Street- My nonsentimental favorite. The Stones now go fora rootsier, less grand sound The ballads are more soul-based than the majestic © balladry of Sticky, but are still just as powerful. T! country experiments reach fruitation, especially wi! ‘*Sweet Virginia’. The album also contains some ¢

UPEI X-P RESS

October 3, 1991.