The best Rolling Stones album of the 1980s featured no vocals from Mick Jagger, no drumming from Charlie Watts, no bass from Bill Wyman, and no guitar from Ron Wood. The 1988 Keith Richards solo album Talk Is Cheap, despite being dogged by the too clean production of the age, was a blast of bracing rock, blues, and soul. For some fans, it was a clear indication that the Stones were finished. Their last album had been drenched in acrimony and bitterness and now Keith had proved that there was life beyond Mick. Jagger followed Dirty Work with his second solo album, Primitive Cool, which was neither, and possibly the worst single of any major recording act (and certainly the worst video), the truly atrocious “Let’s Work”. Keith’s album was a shot across Mick’s bow: Jagger’s solo career was off to a terrible start but Keith had assembled a tight band and worked with them to produce a truly great album. Talk Is Cheap was notice that Keith could thrive in a post-Stones world. Working with the X-pensive Winos inspired Keith even as it scared Jagger, so by 1989 the stage was set for a rapprochement between the two.
Released at the end of August in 1989, Steel Wheels
was considered a comeback album and on those merits it largely succeeds. But it’s a hollow comeback. Dirty Work
, for all of its many flaws, was also the last blast of the band as a unit driven by passion. When it was recorded the Stones were still a group, albeit one that had been splintering for several years. When Mick and Keith reunited in 1989 to begin work on Steel Wheels
, they were simply a band that was brought together by mutual respect and a desire for the audience’s money. They were now a professional recording group and their albums would reflect this. The passion was gone, replaced by competency and an innate knowledge of what the Stones were supposed to sound like.
That’s not to say that Steel Wheels is bad. Pound for pound, it may be the best real Stones album of the decade. It’s certainly miles better than Emotional Rescue, side two of Tattoo You, and Dirty Work. While it lacks Undercover‘s experimental side, it has more of a rocky, back-to-the-roots, sound. The production is clean to a fault, instantly dating the album back to the 1980s, but the performances are tight and Charlie Watts once again plays like he’s clean and sober.
What’s really missing here is inspiration. Back in 1973 and 1974, both Goats Head Soup and It’s Only Rock ‘N’ Roll sounded like the Stones were reading from a “How To Write A Rolling Stones Song” manual. There were some great songs on those albums, and there are on Steel Wheels as well, but the songs on the earlier albums were helped by the recording techniques of the day. There’s a certain sleazy, raw sound on the albums from the 1970s that gave even half-baked songs a great vibe. Steel Wheels doesn’t benefit from this, and even the best songs have to overcome the way they sound coming out of the speakers.
The album begins with crashing guitar chords, but they sound different than the ones that open the previous album. Dirty Work sounded angry from the first note, but the chords that open “Sad Sad Sad” sound loose, like the band is once again having some fun and just enjoying rocking out. Charlie crashes in, sounding invigorated in a way he hadn’t sounded in the previous decade, but Jagger’s transformation from singer to shouter is pretty much complete. There’s a mass of guitar interplay between Richards and Woods. Throughout the track Richards and Woods duel on rhythm and lead and who can tell the difference? There seems to be a million overdubbed guitar lines on the song, dancing between the speakers…little stabs of picked lead, chunky chords, and quick slides. It all leads up to a thrilling track that kicks open the door and swaggers in like John Wayne, ready to dispatch some bad guys.
It was the second song on the LP that heralded the Stones “reunion”, though. The first single, “Mixed Emotions”, was the Stones sounding like an actual unit again. Keith and Mick sing harmonies over a too fussy backing. Charlie really shines and once again Richards and Woods weave their different guitar parts beautifully, but the song sounds so commercial it might as well be playing behind an advertisement on television. It’s clearly written about the feud between Jagger and Richards and their reunion, with lyrics about bickering lovers reuniting and seeking to strengthen their bond. “Button your lip/And button your coat/Let’s go out dancing/Let’s rock and roll,” Jagger barks. In one of his trademark magnificent one-line slags, Keith quipped at the time, “Shoulda been called ‘Mick’s Emotions’.”
“Terrifying” follows a slinky groove with a nice bass line from Bill Wyman. There’s absolutely nothing terrifying about it, with lazy lyrics taken from the Big Book of Similes, but Jagger actually sings this one so well it’s possible to hear the singer he used to be. “Terrifying” might have been a good outtake or B-side from the late 70s or early 80s, and it’s certainly not bad, but it’s also nothing special. It stands in stark comparison to “Hold On To Your Hat” which proceeds at hurricane velocity. Jagger’s back to shouting and seems to be channeling the Angry Mick that was so prominent on Dirty Work. But here Jagger sounds like he’s working with the band, not yelling at them. It’s an underrated gem from this period, with particularly good guitar lines from Ron Wood.
A very nice bridge saves “Hearts For Sale” from mediocrity. A good guitar solo (Keith, I think) doesn’t save another shouty Jagger vocal and a repetitive guitar lick. Again, and this is a criticism that can be applied to a lot of post-Dirty Work Stones, there’s nothing wrong with “Hearts For Sale.” It exists on a pleasant plain where it is enjoyed, and quickly forgotten. It’s certainly better than “Blinded By Love” a faux-Mariachi ballad the likes of which Los Lobos would have discarded as embarrassing.
The biggest hit from the album was the ubiquitous “Rock And A Hard Place”. Buoyed by the incredibly popular and successful Steel Wheels Tour, “Hard Place” received a lot of play on both radio and MTV. It’s a fair stadium-ready rocker, like a faster version of “Start Me Up”, though the lyrics are more thoughtful than they sound on the first, or ten thousandth, listen. The motif for the tour was steel and construction, with giant girders around the stage, and “Hard Place” was about a vanishing countryside, being consumed by ever-growing cities. This made it the perfect song to plug both the album and tour, though the song itself is hurt by Jagger’s mannered vocals and an annoying, halting chorus. Despite the lyrics, it became something of a rock and roll anthem, with people never realizing that the rock of the title was literal, and the hard place was a city landscape. That’s bound to happen when you play to 70,000 people and the hook of your song is shouting the word “Rock!”
Fortunately, Keith swings in with “Can’t Be Seen”, a terrific rocker that bears more than a hint of Talk Is Cheap in its grooves. Over a solid guitar line, Keith sings of an affair that must be broken off because it’s simply no good for either party. “You’re married anyway,” Keith sings before tossing in a subtle “Oh shit”. Charlie is his usual solid self and the bridge is one of the catchiest moments on the album. If there’s a flaw it’s the backing vocals that make it sound a bit too much like a Richards solo vehicle, and not a true Stones song. Bernard Fowler is especially prominent on the backing vocals, as are Lisa Fischer and Sarah Dash, and they’re great. But it leads to the inevitable question: where’s Mick? Consider “Happy” for a moment, Keith’s greatest song. Jagger provides the strong backing vocal but as great a song and performance as “Can’t Be Seen” is, it sounds oddly disconnected on the album.
The flip side of “Can’t Be Seen” is “Almost Hear You Sigh”. The strong ballad was written by Keith and sounds much like something from his solo album but now the question is: where’s Keith? The vocal, a good one, is from Jagger and he’s backed by the professional backup singers the Stones were using. Keith plays guitar, of course, but there’s little of his personality on the track. Smooth harmonies were never the band’s strong suit, but their ragged glory lent a swagger to even the slower songs, and some backing harmonies from Keith might have elevated “Almost Hear You Sigh” to the upper reaches of Stones balladry. As it is, it sounds like a Keith solo track with a guest vocal by Mick Jagger.
The most startling moment on Steel Wheels, probably the most startling moment on a Stones album since Their Satanic Majesties Request, is when the ghost of Brian Jones suddenly makes an appearance. In 1967 on a trip to Morocco, Jones became enamored with a group of local Sufi trance musicians who went under the name The Master Musicians of Joujouka. Suddenly, twenty years after Brian Jones slipped the surly bonds of earth and touched the bottom of his pool, the Master Musicians turned up on a Rolling Stones album. “Continental Drift” is, to my ears, one of the best songs on Steel Wheels because it is so different and so unexpected. It’s a relentless, driving song, propelled by African pan flutes and percussion providing an Eastern sound. There’s nothing else like it in the Stones canon. Even the trippy psychedelia of Satanic Majesties sounded like Western music, albeit drugged. It was a rock band going psychedelic. The beauty of “Continental Drift” is how prominent the Master Musicians are. It’s their song, and the Stones are just along for the ride. It’s one of the most daring and different songs the band ever recorded, and its place on an album of such slick, over produced rock songs makes it stand out. It’s too bad the band didn’t feel like taking some more chances like this one. An entire album of the Stones doing Sufi trance music may have been a bit much, but the experiment is grand enough to leave you wanting more.
“Break The Spell” continues the more daring aspect of the album. It’s a swampy, sleazy shuffle, like something Junior Kimbrough would have recorded. Jagger’s vocal is suitably mud-caked, and his harmonica drives the song. Mick rarely gets credit as being one of the great blues harmonica players, but he is, and it’s a pleasure to hear this side of the band. Much like “Continental Drift”, “Break the Spell” sounds like it was airlifted in from another album, but it’s a very welcome diversion. Keith ends the album with “Slipping Away”, a slow ballad that strikes the perfect note. Like “Can’t Be Seen” it sounds like an outtake from Talk Is Cheap but they were smart enough to have Mick play a prominent vocal role. Of the three songs that most sound like a Richards solo effort, “Slipping Away” is the one that most sounds like the Stones. It’s the best ballad on the album, and the best they’d done since the 1970s. “Slipping Away” is a near perfect album closer. The last three songs on Steel Wheels is the highest quality block of songs the band had created since side one of Tattoo You, and has the benefit of making the listener believe the entire album is better than it actually is. Steel Wheels started strong, and finished stronger, but much of the middle is simply filler product, devoid of any real inspiration or creativity.
The end of the decade saw the Stones in a stronger position than the beginning. Steel Wheels was a satisfying comeback, if not exactly a true return to form. Mick and Keith were posing for pictures and smiling again. Most importantly, the band embarked on a massive worldwide tour that was both musically excellent and financially lucrative. The fighting and backstabbing in the press had mortally wounded the band that came out of the London clubs in the early 1960s. The band that recorded “Satisfaction” and Exile On Main Street was dead, killed by drugs and ego. The band that rose in its place looked familiar and even sounded familiar at times, but it wasn’t the same. With Steel Wheels the Rolling Stones embarked on the final stage of their career: professional recording and touring artists. There would be better albums in their future, and some truly great songs where all the elements meshed, but the Greatest Rock and Roll Band in the World was now just a shadow of its former glory.