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Throughout the album, the interplay of the band is at the forefront, which is one of the reasons the record is so consistent: even the songs that drift toward the generic are redeemed by the sound of the greatest rock & roll band ever playing at a latter-day peak. The band delves into straight blues with “Back of My Hand,” turns toward pop with “Let Me Down Slow,” rides a disco groove reminiscent of “Emotional Rescue” on “Rain Fall Down,” and has a number of ballads, highlighted by “Streets of Love” and Keith’s late-night barroom anthem “This Place Is Empty,” that benefit greatly from the stripped-down, uncluttered production by Don Was and the Glimmer Twins. It’s not a red herring, either - “She Saw Me Coming,” “Look What the Cat Dragged In,” and the terrific “Oh No Not You Again,” which finds Mick spitting out lyrics with venom and zeal, are equally as hard and exciting, but the album isn’t simply a collection of rockers. Far from sounding like a lazy affair, the album rocks really hard, tearing out of the gate with “Rough Justice,” the toughest, sleaziest, and flat-out best song Jagger and Richards have come up with in years. What distinguishes A Bigger Bang is that it captures the Stones simply being the Stones, playing without guest stars, not trying to have a hit, not trying to adopt the production style of the day, not doing anything but lying back and playing. That album was deliberately classicist, touching on all of the signatures of classic mid-period, late-’60s/early-’70s Stones - reviving the folk, country, and straight blues that balanced their trademark rockers - and while it was often successful, it very much sounded like the Stones trying to be the Stones. Of course, every Stones album since their highly touted, self-conscious 1989 comeback, Steel Wheels, has been designed to get this kind of positive press, to get reviewers to haul out the clich’e that this is their “best record since Exile on Main St.” (Mick Jagger is so conscious of this, he deliberately compared Bigger Bang to Exile in all pre-release publicity and press, even if the scope and feel of Bang is very different from that 1972 classic), so it’s hard not to take any praise with a grain of salt, but there is a big difference between this album and 1994’s Voodoo Lounge. The tight, sleek, muscular band showcased there was a surprise - they played with a strength and swagger they hadn’t had in years - but a bigger surprise is that A Bigger Bang finds that reinvigorated band carrying its latter-day renaissance into the studio, turning in a sinewy, confident, satisfying album that’s the band’s best in years. They toured steadily, not just behind Bridges but behind the career-spanning 2002 compilation Forty Licks, and the steady activity paid off nicely, as the 2004 concert souvenir album Live Licks proved. “Not that we’re unused to playing some of the biggest shows in the world, but I must say Rio did take the cake,” Keith Richards said of the show in a statement.Įight years separate 2005’s A Bigger Bang, the Rolling Stones’ 24th album of original material, from its 1997 predecessor, Bridges to Babylon, the longest stretch of time between Stones albums in history, but unlike the three-year gap between 1986’s Dirty Work and 1989’s Steel Wheels, the band never really went away.

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The Copacabana Beach show was a free concert, resulting in what was reportedly one of the largest crowds ever. Yhe live album is available to preorder now. While the majority of the gig featured as part of the 2007 four-DVD collection The Biggest Bang, the “remixed, re-edited and remastered” reissue of the concert includes four tracks excised from the original DVD: “Tumbling Dice”, “Oh No, Not You Again”, “This Place Is Empty”, and “Sympathy for the Devil.”Ī Bigger Bang: Live On Copacabana Beach will be released in a multitude of formats – Blu-ray/two-CD, three-LP, a deluxe two-CD/two-DVD, and more – on July 9th.

The Rolling Stones’ February 2006 gig in Rio de Janeiro is the focus of the band’s next live album/concert film A Bigger Bang: Live on Copacabana Beach.

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