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Goat's Head Soup, for years I thought the album was called Goat's Head Soap, was my second Stones album. After having bought 'Black And Blue' in the U.K. during a spring holiday with my parents there, my brother brought it back for me from his language course in the U.K. two months later. That summer I bought 'Get Your Ya-Ya's Out'.
Goat's Head Soup gets a re-release in several formats. Two of the "new" songs have been reviewed already in the singles section of the blog. I announced a good look at the original album, so here we go.
The first thing I notice is that the two "new" songs, indeed were never truly finished. The sound of the ten songs on the original album clearly are. They are produced until the very end with a myriad of attention going into the details of the music and the sound. This is an album alright and The Rolling Stones made it the best one they could at that point in time. The only thing against it is that it came after the most rock and roll and sketchy album the band ever made, 'Exile On Main Street'. So it's better to compare it to 'Sticky Fingers' or 'Let It Bleed'. 'Beggars Banquet' is in a total league of its own.
Taking the two albums in, Goat's Head Soup doesn't fare that bad, really. Both albums contain songs that I do not really, really like. Both albums contain songs that belong in the list of the Stones' best. The thing is, that in part it is a bit more of the same. This music has been done before and that is, exceptions noted, what goes for all records after. The Rolling Stones became more and more a formula.
Of course I can never listen to the album again with fresh ears, having played it so much as a teenager. In the last decades it was played a lot less, so I can play it with somewhat fresh ears perhaps. Was I surprised? Oh, yes!
I never liked the opening song. The riff is nice at first, but it just goes on and on. 'Dancing With Mr. D.', is the song that ought to have been replaced by one of the "new" songs. They are both better. This is, deep down, just boring, but still the Stones. So it has that toughness in it that makes me sit though it any way. The little harmonies and shouts, an extra guitar line here and there. But still, this ought to have been a "new" song in 2020.
'100 Years Ago' is a song that deserved a better ending. It is like the band didn't know how to end it and sounds like it to. Still it was one of my favourite songs on the album and still is. I love the electric piano or clavinet Billy Preston is playing. Keyboards are playing a huge role on the album as a whole, Nicky Hopkins, Ian Stewart, Billy Preston were musicians The Rolling Stones could not do without on Goat's Head Soup. '100 Years Ago' has the quality of a dream turning to nightmare and back. The interaction between the dirty piano and guitar sound work really well together as with Mick Jagger's voices. Charlie Watts' drumming is forceful and driving.
The first ballad is a successful one. 'Coming Down Again' is the Keith song of the album. His voice still a lot better than it would become not much later. Once again I notice how delicate the accompaniment is. The wah-wah guitar parts, the clear piano. It plays such a huge part in this song. I have no way of telling but it sounds to me that this was a major influence on Roy Bittan of the E Street Band (and Bowie's 'Station To Station' album three years later). I can't help it but I'm a sucker for these sort of Stones ballads. Just listen to Mick interacting here with the band and song and however plays the bass, probably not Bill Wyman, does a great job. A sax solo and there's a cherry on top of the pie as well.
'(Doo Doo Doo Doo) Heartbreaker' is the surprising song 44 years down my introduction of the album. Also the b-side to 'Star Star', the single I did have at the time. Again the song starts with an organ, showing how important the keyboards are. 'Heartbreaker' is a great rocking song with a lot of soul in it. Again the wah-wah guitar, as if either Keith of Mick Taylor had discovered the toy and started to play with it in the studio. Big fat horns are all over the song, just like the "doo doo doo" harmonies. The solo is a great, trippy experience, taking the song in a different direction for a few seconds. So, there's a discovery in 2020 anyway.
Side A ends with THE ballad. The first single of the album and a number 1 hit and one of the biggest Rolling Stones hits ever in The Netherlands. I loved the song then and still do now. Not that there's a need to hear the song a lot any more. It is an integral part of me and I can dream every nuance and phrase. Nicky Hopkins' piano part is the central instrument behind Mick Jagger's voice. The ballad of ballads as far as I'm concerned, as nothing is overdone here. It is the music that is leading and not the effects. That starts with that piano. So enormously beautiful and again I mention Roy Bittan in 'Word On A Wing' and 'The River' and then tell me about Nicky Hopkins and 'Angie' again.
Side B opens with a clean rocker, 'Silver Train'. It's not spectacular, but listen to that slide guitar, Jagger's harmonica and that change into the chorus with "I did not know her name". It kicks so much life into the song. And there's a lot of boogie woogie piano going on the background, so that must be Ian Stewart playing. Allegedly he was only interested to play a rock and roll or boogie woogie parts and nothing else. He does here alright. With the bridge part in place, 'Silver Train' claims it own and deserves that spot to.
'Hide Your Love' is a totally different beast. What to call it? It is fairly empty, again the piano leads the way, although the solo instrument is the guitar, loud and clear. It is an exciting song, although I can't really explain why that is. I certainly think it's better than I used to, as my younger self. Let me call it bluesy, for certain. With changes that make it stunningly good in some places. Taking it all in, the atmosphere of the song is not unlike the live setting on the 'El Mocambo' blues and rock and roll side of the 'Love You Live' album. Informal just rocking away together. 'Hide Your Love' is one of the hidden treasures in the band's oeuvre.
The third ballad is 'Winter'. Again the band simply delivers. The song has a mood that is just right, it touches on the subject just right. I am listening and forgetting to write anything I notice, being taking along by Mick's lush vocals, the interplay between the guitar and piano. I can feel the cold and the hope of sun in my bones and on my skin while listening.
'Can You Hear The Music' is the Indian song on this album. Again a ballad, but with eastern influences all over. Although it surprises me in 2020, it is not the most interesting song of the album. The song does have its moments, like the flute played by Jim Horn.
The final song is 'Star Star' or 'Starfucker' as it was supposed to be called. Always a little scandal surrounding a Stones release to catch the eye or ear. 'Star Star' is a joyful rock and roll, Chuck Berry inspired song. Keith Richards can do his rock and roll thing and show that there aren't many guitar players allowed to stand in the slipstream of Mr. Berry himself. The song simply works and is great to sing along to. With a fine solo to boot.
The sessions would lead to several songs on later albums. It also was the last album with Jimmy Miller producing for the band, five albums in all. Looking at the picture of Miller on the inner sleeve, I know, now, exactly why. Miller has that same ghostlike face Keith Richards had at the time. Death is in his looks, one of the casualties lain by the wayside of the Glimmer Twins. The production of Goat's Head Soup is great by the way and Miller, dead for 26 years this year, has a claim to fame forever, with a totally winning streak to his name as far as rock albums are concerned.
So, the overall verdict. A great album and I like it better than 'Sticky Fingers' I have to say. As a whole the album works great. Almost all individual songs make the grade easily and even that opening song is played with swagger in a great way. Top album in other words.
Wo.
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