However Hillside Blues represents the most compact and concise over-view of this era to date, and all in stunning sound quality. The 30 tracks here are not quite definitive – an inexplicable omission is Did Everybody Pay Their Dues? (an early version of Street Fighting Man) and there are some interesting alternate versions not represented here such as the version of You Got The Silver with Jagger on lead vocals (Keith’s is better).
Along the way much good studio material was recorded but not released and it is this treasure trove that VGP have investigated with Hillside Blues.
All four were released between December ‘68 and May ‘72, a period of unparalleled creativity for the band. Let It Bleed, Sticky Fingers and Exiles on Main Street. Where Jagger does have a point is that few bands current output could withstand comparison to the golden era of Beggars Banquet. Their peers seem to manage it with the Beatles, Who and Led Zeppelin all exhuming their vaults to both critical acclaim and financial benefit. Hillside Blues – Vinyl Gang Productions VGP 214 2CD set (1999)įor the true Stones obsessive (and we are many) it is extremely frustrating that Mick Jaggers obsession with proving the Stones continued relevance appears to preclude any reappraisal of their glorious past. What this record demonstrates in spades is that at least in the studio Ronnie Wood can come up with a thoroughly well-played and competently assembled record, which may just be the point As Mick Jagger plans the inevitable Stones 50th Anniversary world tour the news that Ronnie still feels like playing will come to many as a great relief. Re-recording the song 36 years later suggests either that it has emotional significance to Ronnie, or that he has run out of songs. Originally written and recorded for ‘I’ve Got My Own Album To Do’ in 1974 but not included, a live version was included on the First Barbarians Live At Kilburn DVD from the same year. The final track Forever will be of interest to the Ronnie Wood completist, if such a thing exists. The Eastern guitar effects on the track 100% stands out – playing electric sitar on Paint It Black every night has clearly left its mark. Willie Dixon’s Spoonful is taken a fraction too fast, keeping the rock but losing the roll. Generally the soul-influenced slowies (Catch Me, Tell Me Something) come off better than the Modern Riff Rockers (Thing About You, I Don’t Think So). Lyrics have never been Ronnie’s forte (one of the reason why Stewart-Wood or Wood-Lane credits were always so welcome) and the words here are Dull.
What the record lacks is a raison d’etre. Each of the 12 tracks is competently written, produced to give a contemporary rock sound and effectively played by an assortment of high-profile Famous Friends. Sadly it is none of these things but is instead Professional. You could reasonably expect that Ronnie’s first solo recording since his high profile marriage break up and the resultant media attention would be rueful, angry, thoughtful, regretful, vicious, heartbroken or jubilant.
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