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Music Review: The Rolling Stones – Shine A Light (Original Soundtrack)

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Scoff all you want about their elder status in a young band’s domain. The Rolling Stones still run the rock and roll table at will. Issued to coincide with the theatrical release of Martin Scorsese’s film by the same name, the soundtrack to Shine A Light is a brazen, balls-to-the-wall live album.

Recorded over two nights at New York City’s Beacon Theatre in late 2006, the two-disc set comprises twenty-two tracks, four of which are not included in the film. The Stones wisely stick with what works, the most recent track dating back twenty-five years.

Armed with one of popular music’s ultimate catalogs, the band draws out rarities and hits with deliberate intent, brandishing them like select weaponry. Tenacious rockers abound – like “All Down The Line,” “Start Me Up,” “Brown Sugar,” “Shattered,” and “Jumpin’ Jack Flash” – while Charlie Watts keeps time with unassuming command.

Mick Jagger delivers more than a few electrifying performances, seldom sounding complacent, always exuding his roguish charisma. He swaggers through “Some Girls” and “Tumbling Dice” in inimitable cocksure form. He imparts “As Tears Go By” and “Faraway Eyes” with marked sincerity and, in the case of the latter, with a suitable honky-tonk twang. And he metes out an acerbic rendition of “Sympathy For The Devil,” his embodiment of Lucifer not only seeming absolute, but also strikingly appropriate.

Keith Richards, of course, musters up his own highlights at the microphone, as when he digs into “You Got the Silver,” singing out his ancient soul and trading dirty licks with Ronnie Wood. As well, on “Connection,” he shovels through the propulsive obscurity with certifiable cool.

Invited or not, artists who tread onto the Stones’ stage face an inherent risk, namely that they wind up looking foolish while attempting to hold sway with their hosts. Either they play it too safe or they try too hard, both scenarios rendering the same fate. Jack White, for instance, joins in on “Loving Cup,” but what should have inspired an assault of solos and riffs instead dwindles down to what sounds like a wholesome vocal duet. Conversely, all Christina Aguilera has to do is sing “Live With Me” with Jagger, but she exaggerates her voice – which ascends from wailing to howling to squealing – and overwhelms the song.

Leave it to Buddy Guy to get it just right. On the Muddy Waters barnstormer, “Champagne & Reefer,” the bluesman makes his total presence known, his booming voice and crying guitar steamrolling through – if not over – the playing of his loyal protégés. Damn right he’s got the blues and, at least for the duration of this song, Buddy Guy owns the Stones’ stomping ground too.

In the end, though, the Rolling Stones stand alone, getting their rocks off unrivaled and free to do what they want any old time. They’ve long deemed the concert stage as a killing floor. As a live album, Shine A Light exhibits how their enduring dominance still decimates lesser bands to nothing more than charlatans in their shadow, victims in their wake.

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About Donald Gibson

Donald Gibson is the publisher of www.writeonmusic.com and a freelance music journalist whose byline has appeared in such publications as No Depression, Spinner, The Seattle Post Intelligencer, Cinema Sentries, Blinded by Sound, and Blogcritics, where he was the Senior Music Editor (2011-2012) and Assistant Music Editor (2008-2011). He has interviewed and profiled such artists as Tony Bennett, Lucinda Williams, Jakob Dylan, Allen Toussaint, Boz Scaggs, Johnny Marr, Charli XCX, Justin Hayward (The Moody Blues), Susanna Hoffs, Bruce Hornsby, Delbert McClinton, Jonny Lang, Alan Parsons, Bill Frisell, Rickie Lee Jones, Christina Perri, Don Felder (The Eagles), Jimmy Webb, Katie Melua, and Buddy Guy, among many others.
  • Damn Gibson, is this really THAT good? You make it sound like the second coming of “Get Your Yas Yas Out.” I trust your opinion though, especially when your review is that passionate. So I’m sold.


  • Yes, it’s THAT good. Obviously the band knew the 2 shows that make up this album would be the basis for Scorsese’s film, so they likely approached them with more focus than they perhaps may at a regular gig. Plus, this isn’t a typical live album, recorded during random shows on a tour.

    Whatever the reason, it’s a great album.

    – Donald

  • Nice review. It is a darn good album. A lot better than I expected from it when I heard it was from 2006. I’m perpetually amazed that these guys can still bring it the older they get.

  • Thanks for the comment, Mat, and for the link on your page. I appreciate it.

    I’m going to see the film this weekend. I’m hoping it holds up as well as the album.

    – Donald

  • Jenna

    Check out photos from the premiere of SHINE A LIGHT in London happening today!! Its incredible!!

  • I’m all on fire now for the Album and the film. This is a great read. Dem Krazy Stones Boys Will Rock For Ever!

  • mary w

    It was soooo dissaponiting to see my dear Stones hooking up with Bill….One thing that I admired them for was the lack of main stream political agenda. I guess that they joined all these cliches that we see around, and it is almost heart-breaking. I wonder whose idea was this. As they are, they definetely didn’t need Bill to improve their ratings, why did they allow to be used in this political race? Why, Mick? Why, Keith? This is the first time that I am not going to buy your DVD…

  • Mike Mowbray

    The Stones just keep getting better,I absolutely loved this film.