Release Date: April 23, 1976
Label: Rolling Stones
Popular Songs:
Songs You Need to Listen To:
Written By: Andy Trcka
March 31, 2022
The biggest decision of 1976 was when to release Black and Blue. A summer release would have eclipsed America’s Bicentennial and no one would have paid attention to the Summer Olympics. Likewise, a winter release would have overshadowed the games of the Twelfth Winter Olympiad. Lastly, a fall release was simply out of question because people would have been so enthralled with the tunes they likely would have forgotten to vote. The Stones were forced to sit on one of humanity’s finest art projects, keeping it bottled up like a rare whiskey. It is analogous to asking Van Gogh being asked to not reveal Starry Night. Eventually it was the Pope who had to wrestle with the fact Black and Blue was coming out in spring and was going to chisel some attention from Easter. Never before had a work of art been more anticipated, and never before did an artist deliver on such a large stage. Black and Blue (B & B) smashes into the listener like a hydrogen bomb detonating inside of an atomic bomb. It is a sound that forever changed not only Rock and Pop, but the entire artistic landscape of the universe. More than a few people were concerned the Earth might tilt off its axis.
Ok…realistically, B & B is a less than stellar album. However, like how the USA brought home a slew of medals in ’76, and fireworks popped over every major ‘Murican city, Black and Blue delivered a few gold medals of its own via a handful of satisfying tracks.
B & B came about at a moment of change for the Stones. Guitarist Mick Taylor departed in 1974 to be replaced by Ronnie Wood. Essentially the recording sessions were auditions for guitarists. The album also came along in a time where the Stones were each growing into their own. The Stones were entering their 30s and falling into the patterns of their lives. As such, geographically speaking, the production of the album is an exotic collection of locales. Recording began in Munich, Germany, was interrupted by a “Tour of the Americas” and then resumed in Rotterdam, Netherlands. Dubbing and production work were performed in Montreax, Switzerland and New York City. Lastly, Keith and crew found themselves in Sanibel Island, Florida to be photographed for album art.
Mick Taylor is Gone!
2:20 AM – You might have noticed the strange time this review arrived in your inbox. This was sent to coincide with the time of day the Stones would rehearse with or ask prospective guitarists to rehearse. The search for Taylor’s replacement was a total rock star scenario – Last minute invitations, tryouts at glamorous locations like the Caribbean, and little or no feedback provided to aspirants. Basically you showed up, played some music and unless you were Ronnie Wood, you might not ever hear from the Stones again! And boy did folks show up to audition! It is rumored Steve Marriot, Harvey Manel, Wayne Perkins, Peter Frampton, Rory Gallagher, Jeff Beck all tried out. Bootlegs of the sessions are still in circulation so you are in luck if you’re thinking Frampton (or any others from this list) jamming with the Stones sounds pretty cool. Departing The Faces for the Stones, Ronnie Wood was chosen as Keith’s partner. A duo that still entertains today!
Ronnie and Keith jamming in the 1980s (source)
Essentially many of these tunes are born from tryouts for Mick Taylor’s replacement. Thus it’s no surprise guitar theatrics are heavy throughout. The album never reaches Joe Bonamassa’esque virtuosity levels, but it is guitar-heavy nonetheless. “Hey Negrita,” and “Crazy Mama” are two examples of stringed exuberance. Lyrically speaking, neither track dives below the snorkel level. But with its bar band feel, “Crazy Mama” manages to deliver. It’s as if it rolled off the Saturday evening stage at your favorite neighborhood music joint. “Hey Negrita” comes off as a bit confused. To me it sounds as if Mick said, “you guys run those guitars and I’ll join in at some point and sing something.” “Hot Stuff,” the opening track, is a mixed bag of sounds – funky, disco danceable and straight-forward rock and roll. As you might have gathered, “Hot Stuff,” is a bit of a jumbled mess, but the kinda mess you might occasionally crave. Crave because any music fan worth their weight has a stash of lousy, but quirky tunes their ears, that few others enjoy. How else would you explain the success of Guster?
There’s one guitar-heavy track we haven’t discussed yet, and it’s the best song on the album – “Hand of Fate.” Constructed a little sturdier than the other fast-moving tracks of the album, it’s a move your feet, let ‘er rip sort of song. Please indulge me for a moment as I step out on a ledge – I think “Hand of Fate” is the Rolling Stones most underrated song. It is in my top 5 favorite Stones tunes and occasionally finds itself in the #1 slot! “Hand of Fate” is a brawny, quick tempo’d treat of a song. However, look beyond the stringed contributions on “Hand of Fate” and pay attention to Charlie’s drumming. Probably obvious, but this isn’t an album where Mr. Watts features prominently. On “Hand of Fate” we hear Charlie provide a much-needed counterbalance to the guitarwork; resulting in a richer, multi-layered sound than many of the songs on the album.
Ignoring the rehearsal feel to B & B, one Stonesy hallmark heard throughout is Jagger’s voice functioning as an instrument. This is a common component to Stones music throughout the entirety of their career. “Cherry Oh Baby,” “Memory Motel,” “Melody,” and “Fool to Cry” are all lyrically forward tracks. Of these tunes, “Fool to Cry” and “Memory Motel” solidly contribute to the Stones canon, unfortunately “Melody” and “Cherry Oh Baby” fall a bit flat. With a foray into reggae, “Cherry Oh Baby” is a bit boring because it fails to recognize that the genre is more than just island reverie – it’s an expression of culture and pronounced economic doldrums. If you are looking for reggae’ish fun from Mick and the boys, I suggest skipping this tune and trying out “Crackin Up” from 1977’s live effort, Love You Live. It’s a short, bouncy tune about a man’s troubled relationship. Doesn’t seem like a theme to put a smile on your face, but “Crackin Up” manages to be fun. It’s the kinda curveball song hardcore fans would love if it snuck into a setlist. Bo Diddley also recorded “Crackin Up!” Here’s an entertaining version featuring Didley performing with Ronnie.
“Melody” is a dabble in cabaret, akin to what you hear on Bob Dylan’s New Morning album. Unfortunately, “Melody” is no “If Dogs Run Free.” Instead, it comes off as the boys were playing around, not really concerned about delivering a top track. Oddly enough, this isn’t the Stones first venture into theatrical sound; check out “Cool, Calm and Collected” from Between the Buttons for a pleasing thespian’ish ditty.
“Memory Motel” and “Fool to Cry” – A Pair of Fantastic Tunes
“Memory Motel” and “Fool to Cry,” despite sounding a bit similar, are fantastic Stones ballads. Obviously Keith and crew know that angst and sinister moods make for great rock (think Sympathy for the Devil). But the Stones also are also powerful when they let their guard down and dabble in fragility. B & B’s “Memory Motel” and “Fool to Cry” are two such examples. “Memory Motel” fits well into any Stones setlist. With Mick’s falsetto leading the way, “Fool to Cry” similarly plays well live. In fact, so well that they treated the crowd to it at their Minneapolis show in October, 2021. Mick’s falsetto makes a number of appearances throughout their career, but is especially present in the mid-70s to mid-80s, typically providing a delightful pause from the hefty rockers of their albums or live shows.
Memory Motel:
Hannah honey was a peachy kind of girl
Her eyes were hazel and her nose was slightly curved
We spent a lonely night at the Memory Motel
It’s on the ocean I guess you know it well
It took a starry night to steal my breath away
Down on the waterfront her hair all drenched
in spray
Hannah baby was a honey of a girl
Her eyes were hazel her teeth were slightly curved
She took my guitar and she began to play
She sang a song to me, stuck right in my brain
You’re just a memory of a love that used to be
You’re just a memory of a love that used to mean so
much to me…
…It’s been a lonely night at the Memory Motel
You’re just a memory girl just a memory
And it used to mean so much to me
You’re just a memory girl you’re just a memory
And it used to mean so much to me
You’re just a memory girl you’re just a sweet old memory
And it used to mean so much to me
You’re just a memory of a love that used to mean so
much to me
She’s got a mind of her own and she use it well yeah
Well she’s one of a kind
Songwriters Keith Richards/Mick Jagger
Label: Rolling Stones Records
Final Thoughts and Considerations
This album was released near the beginning of what I term the Stones’ “Rock Star Era” (1973 – 1989). In these years the Stones began to not just embrace, but embody the role of showmen. From here onward it’s massive audiences, dalliances cataloged in the tabloids, and other compliments of fame. Some feel this is a hollow period for the Rolling Stones – I beg to differ. Look…a show can have pyrotechnics, awesome sound, brilliant musicianship, breathtaking lighting, but all that is muted if the songs aren’t quality. The Stones knew this in the 70s and they still understand it today – to give a great concert you need great songs. For this reason, I contest the Stones are too proud to release less than stellar music. Thus, even the least impressive additions to their catalog are still very listenable. Quite simply – there are gems on every album and there are no bad Stones albums.
With B & B Mick and company lift the hood and give us a peek into their world as they search for a guitarist. While that is an interesting, and at times fun experience, it ultimately doesn’t make for a polished album. Black and Blue has the feel of an outtakes release or B-Sides collection. With only 8 tracks, it’s one of the Stones shortest albums. Perhaps the best parts of this album would have been better served by being meshed with the album’s predecessor, It’s Only Rock and Roll? The resulting album would have been varied stylistically, lacking an overall sound or theme, that’s ok, sometimes great albums are nothing more than collections of great tunes – The Stones 1966 release, Aftermath and Tattoo You from 1981 are a couple examples.
Hindsight is 20/20…It’s 2022, it’s easy to look back and ruminate about how adding tracks, merging with other albums, or other scenarios that would have made this a “classic” album. But the Stones didn’t do any of those things. Instead, what they gave is not a “great” album, but in “Hand of Fate, “Memory Motel,” and “Fool to Cry,” we are provided three classic Stones tracks. It was recorded in a lighthearted manner, so it makes sense Black and Blue is an album best paired with a playful mood – crank it loud when sharing drinks, enjoying yard games or any situation where the mood is lighthearted.
| Track # | Title | Notes |
| 1 | Hot Stuff | ! |
| 2 | Hand of Fate | + $ |
| 3 | Cherry Oh Baby | * |
| 4 | Memory Motel | + |
| 5 | Hey Negrita | $ * |
| 6 | Melody | $ * |
| 7 | Fool to Cry | ! + |
| 8 | Crazy Mama |
Legend: ! = hit, single or famous track, B = B side to single, + = top track recommended by Andy’s Stones, $ = notable instrumentation or singing provided by supporting cast member (e.g. piano by Nicky Hopkins or percussion by Charlie Watts), * = Songwriting credits/inspiration = Eric Donaldson (“Cherry Oh Baby”), Billy Preston (“Melody”), Ron Wood (“Hey Negrita”)
Sources and other Considerations
Recording information (when and where) retrieved from: https://en.wikipedia.org/wiki/Black_and_Blue
Tracklists and information about personnel was retrieved from the album’s liner notes.
Nothing directly was used, but some of my thoughts about the transition from Mick Taylor to Ronnie Wood was framed by the chapters of “According to the Stones” relating to this era.
Keith and Ronnie photo retrieved from: https://commons.wikimedia.org/wiki/File:Richards,_Wood_onstage_in_Turin,_1982.jpg Lyrics to “Memory Motel” retrieved from www.lyricfind.com
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