Richards said the band hit upon the title after “flinging ideas around the table, and we went from ‘Hit and Run,’ ‘Smash and Grab’ - and somehow between that we came up with ‘Hackney Diamonds.’” Jagger said the phrase evoked “when you get your windscreen broken on Saturday night in Hackney and all the bits go on the street.” “Hackney Diamonds” is a slang term for shattered glass, and the band also teased fans with an ad in the local Hackney Gazette newspaper for a fictional glass repair business: “When you say gimme shelter, we’ll fix your shattered windows.” “We are quite pleased with it, we are not big headed about it, but we hope you all like it.” “We said we had to make a record we really love ourselves. “I don’t want to be big-headed but we wouldn’t have put this album out if we hadn’t really liked it,” he said. Jagger joked that the long gap between albums was due to laziness. He said when they did get in the studio, the songs tumbled out with “energy and urgency.”
“When you have a singer that wants to sing, you grab him and throw him in the studio,” Richards told the AP. The clip features “Euphoria” star Sydney Sweeney, shown cruising LA’s Sunset Boulevard in a red convertible, past billboards of the Stones from various eras.Īs to why the band waited almost two decades between albums, Richards said the timing was largely down to Jagger. The band screened the video for “Angry,” which has a classic mid-tempo crunchy Stones sound. “She sang it live and then we went in and tidied it up a bit.” “She walked in next to me and we started singing together,” Jagger told The Associated Press backstage. Jagger said Lady Gaga - who sings on “Sweet Sound of Heaven” - was recording in a next-door studio while the Stones were in Los Angeles and ended up on the album after she popped in to say hello. Recorded in December and January at studios around the world, the album sees the Stones team up with Grammy-winning producer Andrew Watt, who helped assemble the starry guest list, which also includes former Stone Bill Wyman. The album also contains “love songs, ballads, country-type” sounds, he said. The lead single is called “Angry,” but Jagger said not all the songs are furious. The band released a set of blues covers, “Blue & Lonesome,” in 2016. Inside the ornate former Edwardian musical hall where Charlie Chaplin and Stan Laurel once performed, Jagger, 80, Richards, 79 and Wood, 76 gave details of the Stones’ first studio album of new songs since “A Bigger Bang” in 2005. Album DescriptionHard-core fans lined up in a heatwave outside the Hackney Empire, where the band members were interviewed onstage by “The Tonight Show” host Jimmy Fallon in front of dozens of sweltering journalists and a global online audience.
See More Your browser does not support the audio element. The only problem with all of these is that you have to find them among the whopping 19 songs on Lights Out, making it somewhat of a frustrating album despite its several highlights. His stuttering beats on "Tha Blues" are breathtaking, as are the Eastern-style ones on "Hit U Up," and the album-opener, "Get off the Corner," sounds absolutely massive. Similarly, Mannie Fresh misfires here and there on Lights Out, like on the oddly bluesy "Fuck Wit Me Now" but, for the most part, has never been more creative. Wayne is deep on heartfelt songs like "Everything" and "Grown Man," and he is street-smart on insightful songs like "Lil One" and "Get off the Corner." He's much more effective, though, when he lightens up his lyrics and has fun, as on "Shine," "Let's Go," and "Hit U Up," three album highlights. This ambition is somewhat fascinating, particularly for anyone who has followed Cash Money's evolution to here however, it's also a bit overreaching. Wayne is out to prove himself as more than a teen phenomenon, showcasing a socially conscious side largely absent on his debut, and Fresh is out to prove himself as a versatile producer, crafting a sonically adventurous sound denser than his past work. Lights Out retains plenty of this but is notably ambitious. These releases were anything but serious or wild, instead prototypically Dirty South with their big, bass-heavy bounce beats and brash, bling-bling boastful banter.
Up until this point, the Cash Money camp had churned out a staggering number of releases during the late '90s. More than anything, the serious tone and the wild beats come as somewhat of a surprise. Lil Wayne may still be a youngster on his second album, Lights Out, but he shows substantial growth, dropping serious lyrics over some of Mannie Fresh's wildest production to date.
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