The Rolling Stones belong at the top of the list of greatest musicians and bands. Personally, I feel they even top the Beatles. No, they weren't as influencial as the Beatles, I'll admit that, but the Beatles came apart at the seams six years after they made the world scene. The Stones have weathered through all kinds of scandal and multiple member changes--even the death of the founding member, Brian Jones, in 1969--and still they are a major force to be reckoned with on the world stage. No other band from their heyday can claim such a devoted following or such durability. The Who, perhaps the most comparable band of the same genra to survive the Seventies, have carried on diligently, but the death of Keith Moon in 1979 sealed their tomb; the Beach Boys were, in large part, already finished by the time the Stones hit their mark; the Beatles disappeared after 1970, and all hope of reunion was dashed ten years later with the murder of John Lennon; other famous bands such as Led Zepplin, Queen, and Pink Floyd come later on the timeline.

Bridges To Babylon is an achievement of a lifetime. Featuring on the cover a rearing, snarling, fighting lion (a clear symbol of Jagger himself, who is a Leo) amid a desert on most editions, or a series of gray lithographic artwork obscuring the desert scene on special editions, the cover art tells us that this is a take-no-prisoners all-or-nothing achievement. The liner notes' image layout alone tell the story of the album's biblical theme, something that is carried on throughout such tracks as "Saint Of Me". Here the Stones prove again that they can keep up with the rest of the world of music, even into their later years of life (at 50--at the time of the album's release--Ronnie Wood is the youngest).

The backdrop of the liner notes is that of a sandy desert and a sky filled with roiling clouds. Inside the first page of the notes is a phenomenal group picture of Jagger and Richards horsing around while Ron Wood leans on Charlie Watts, who--true to form--looks as bored as ever. Continuing through the pages, there is artwork of ruins, to symbolize the ruins of Babylon, more sand and clouds, and the Tower of Babel, followed by ruins. In the CD tray, the Three Graces are visible... or are they the Fates?

In a way, Bridges is comparable to its precessor Voodoo Lounge as the "step into the light" follow up. Voodoo Lounge resonates a very dark, almost demonic quality (as is suggested by its title) while Bridges To Babylon elevates the aging band to a stature few bands dare to elevate themselves to. The artwork alone draws the portrait of contrast of a mere two years. Voodoo Lounge is chock full of red and black artwork -- complete with a painting of Satan Himself -- whereas Bridges contains only one photograph of the band, and light-hued biblical artwork. They have come through the tunnel and seen the light, and if they never record another album, this is a helluva way to end the career of the Greatest Rock And Roll Band of All-Time.

Flip The Switch

This is a great way to jump start the album, to get it off and running from the get-go. Watts kicks the song off with a stunning drum solo before the guitars pick it up. Jagger's mature voice spirals up and down the octave scale in an impressive warmup. If any song can prime the listener for the rock and roll journey they are about to take, Flip The Switch fits this bill better than any other song in the thirteen-song lineup.

Anybody Seen My Baby?

Jamie Mahoberac pulls off virtuoso bass riffs upon opening, and Jagger's "acting voice" grinds the song into the very soul of the listener. One can feel the narrator's anguish at losing a love. This song is a calculated single -- it is without doubt the perfect way to promote their pending album and tour. It is a catchy, if mournful, tune, worthy of turning up if it comes on the radio. A few verses before the end, an unknown vocalist breaks into an undecipherable rap (though there are versions available without the rap at all) while Wood and Richards fatten the song with stunning riffs. This is without doubt the most commercial tune on the album.

Lowdown

Jagger thumbs his nose at the media in this song. After the second chorus, and a riff in which Wood and Richards again show off stunning talent for old farts, Jagger wails "The headlines are screaming / They change everyday / As long as I ain't in them / I'm happy that way."

Already Over Me

Here Jagger's voice shows its weakness. His voice strains, and while he pulls of a superior job of acting through his singing, the stress of his voice doesn't really get this song off the ground. The image-heavy lyrics throw-back to Voodoo Lounge's "New Faces".

GunFace

This song comes across as a throwback to Voodoo Lounge's "Mean Disposition". With it's bah-bah-BAAH, bah-bah-BAAH rhythm, it lumbers along at a choppy pace.

You Don't Have To Mean It

Keith Richards gets a solo on a song that doesn't strain his voice for once. Until I heard this song, I maintained that he cannot sing. This song has a very hip-swinging, rollicking horn section are immediately recognizeable. This song has a light-hearted rhythm that will get your foot tapping before you realize what you're doing. The bass rhythm section and the horn section are in perfect synch.

Out Of Control

As always, Jagger takes a retrospective journey through his career and puts it into song. He flits across such heady topics as alcohol, drugs, insanity, vanity, and infidelity. This song also features his champion harmonica playing. This makes a phenomenal tour song, because a flash of strobing lights signifies the loss of control during the wild choruses, while Jagger races around in a tizzy.

Saint Of Me

The second single, Saint Of Me is commercial in sound, like "Anybody Seen My Baby" but it tackles a heady topic -- Religion. (Saint of Me also features a guest artist, Me'shell Ndegeocello on the bass). In this song, he demands to not be made into a saint, and points out what happens to saints. Like "Sympathy For The Devil" this song uses biblical and historical pinpoints rather than emotions for its basis. From Saint Paul and Saint Augustin to John the Baptist and Salome, Jagger slams through set after set of proof of what it's like to be a saint. In the third verse, he tackles another topic when he wails "I do believe in miracles / And I want to save my soul / And I know that I'm a sinner / I'm going to die here in the cold". Well, relax Mick old boy, I don't think the Catholic church will be too gung-ho to name you for sainthood.

Might As Well Get Juiced

I don't like this song. I refuse to even listen to it. No thanks, Mick, I really don't want to rip up my mind, thank you. Therefore, no comment. :-)

Always Suffering

This is a perfect lovers-lament song. There is dispute over the back up vocals (according to Charlie Watts, he never sang on the track, though the track listings say he is part of the back up vocals) but in the end, when one listens to the track, it is easy to become mesmerized. And if you're going through a very rough time (ie a break up of any sort) this song can reduce you to tears. With its recurring chorus of "We're always suffering, already lost" combined with Jagger's singing talent at its best and a slow balladic beat, "Always Suffering" can also be viewed as a mournful look back at the hard times of the Rolling Stones. At the very end of the song, before the final refrain of "always suffering already lost", Jagger croons "for life is but a chance / on a wind-swept hill / and the seeds of love are swirling above / let them be still" in such a mournful way that can reduce any weak heart to tears. This song is chock-full of dramatic imagery and dramatic singing, and if the Stones ever need a funeral hymn, this is the tune to write the goodbye lyrics to.

 

Too Tight

This is an anthem if I ever heard one. A thumb-on-the-nose spitting-in-the-face attack at anything that ever tried to oppress the Stones. The opening chords set up a tension, which is jacked up by a heart-racing riff that carries the song through to it's ending twangs. Jagger even thumbs his nose at tradition by saying "I've seen it all a thousand times / I've sung that song, I wrote that fucking book" and after a thrilling riff continues the refrain with "do yourself a favor, now / don't drive me around the block" and in a way, almost predicts the future of the band. "If you try to chain me up, I'll vanish like a broke dream."

Thief In The Night

Any inhabitions about Keith Richards' singing that were dispelled in "You Don't Have To Mean It" are back with this song.

How Can I Stop?

This song fits in a lounge. Would have fit better under the Voodoo Lounge umbrella-title. That's all I really have to say about it.

It's so easy to sit back and criticize the Stones, calling them has-beens, saying they are only out for the money, but an album as lovingly written, recorded, mixed and promoted as this one is, can hardly be classified alongside the half-assed stuff that would come out of a dollar-sign-driven deal. Jagger describes himself as a serious musician, and since he and his three other compatriots are all serious musicians, there is no way they would ever think of putting out an album below their standards.

Easy to criticise, but then again, name another band of men (or women) in their 50s, out playing sold-out stadium shows while their album swirls through mainstream music.

The Stones earned the title of Greatest Rock And Roll Band In History, and Bridges To Babylon is just another jewel in their illustrious crown.

As Mick Jagger was quoted as saying, "Not bad for boring old farts."

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This page was last updated Wednesday February 27, 2002