MOJO 375 magazine cover, featuring The Rolling Stones

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MOJO 375 – February 2025: The Rolling Stones

MOJO 374 magazine cover, featuring Neil Young and The Best Albums Of 2024

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MOJO 374 – January 2025: Neil Young

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MOJO 373 – December 2024: David Bowie

David Gilmour, on the cover of MOJO magazine, number 372

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MOJO 372 – November 2024: David Gilmour

MOJO 371 magazine cover, featuring Bob Dylan

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MOJO 371 – October 2024: Bob Dylan

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MOJO 370 – September 2024: Nick Cave

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MOJO 369 – August 2024: Stevie Nicks

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MOJO 368 – July 2024: Paul Weller

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MOJO 367 – June 2024: Kate Bush

MOJO 366 magazine cover, featuring Pearl Jam and Pearl Jam CD

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MOJO 366 – May 2024: Pearl Jam

MOJO 365 cover, featuring Liam Gallagher and John Squire

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MOJO 365 – April 2024: Liam Gallagher & John Squire

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MOJO 364 – March 2024: Paul McCartney

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Stevie Wonder Stars In The New Issue Of MOJO Magazine!

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The Beatles On Now And Then, The Best Albums Of 2023, U2, Blur And More In The Latest Issue Of MOJO!

MOJO 361 cover featuring The Rolling Stones

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MOJO 361 – December 2023: The Rolling Stones

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Dylan, Beatles, Zeppelin, Kate Bush Star In MOJO’s 30th Anniversary Issue

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The Best Albums Of 2024

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Pearl Jam: All The Albums Ranked

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Paul McCartney Live Review: Timeless mastery and seasonal cheer

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MOJO’s New Led Zeppelin Special Is Out Now!

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ELO’s Jeff Lynne: “This is not a farewell to music!”

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Keith Richards Interviewed: “We’re born to have fun. If you take it too seriously, you’re f\*\*\*ed…”

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The Best Reissues of 2024

Paul Weller and Bobby Gillespie Brixton Academy December 13, 2024

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Paul Weller, Primal Scream, Kneecap And More Review: Eclectic lineup come together at Gaza benefit

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The Who: Every Album Ranked

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Ringo Starr: “It was an absolute surprise to me!”

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Manic Street Preachers: “Failure is ingrained in the band as much as success.”

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Bob Dylan’s 60 Greatest Songs: Chosen by Paul McCartney, Bono, Patti Smith, Nick Cave, Chris Martin and more!

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20 Ways John Lennon Changed The World

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Rush’s Greatest Albums Ranked!

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AC/DC: Every Album Ranked

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Paul Weller Remembers Ian McLagan: “He always had a great spirit about him…”

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New Music

It’s that time of year again, the time where we gather MOJO’s writers together to thrash out the definitive list of the best new albums this year has had to offer. We’ve had plenty of returning favourites in 2024 - **Nick Cave**, **Jack White**, **Paul Weller** and **St. Vincent** among them. And in some cases have welcomed back artists after we were starting to worry we may never hear from again –  say hello, **The Cure** and **The The**. For us, though, what’s helped to make 2024 yet another vintage year for music is the new artists coming through and forging out new pathways. One's that we’re sure to be exploring for many years to come. If you want even more of the year’s best music make sure you pick up a copy of :a[the latest issue of MOJO]{href='https://www.mojo4music.com/magazine/latest-issues/mojo-374-january-2025-neil-young/' } for the inside story on many of these records and a bespoke 'Best Of 2024' CD. Until next year…

Since his death in 2021, Lee ‘Scratch’ Perry has enjoyed a fertile, if inconsistent, creative afterlife. Two 2024 releases, however, placed the reggae magus’s unreleased incantations in friendly new settings: _King Perry,_ shepherded by producer Danny Boyle; and this cosmic roots confection, worked on since 2017 by Killing Joke bassist Youth. Heady flashbacks to the mid-’70s Black Ark sound proliferated, plus some game if unlikely vocal sparring partners including Boy George.

https://www.youtube.com/watch?v=uvNwkntY7b8

“The title makes me think of attraction, passion, playfulness, paying attention, our collective downfall, loss, falling in love and love of humanity. That should cover it,” Joan Wasser told MOJO, comprehensively nailing the emotional breadth and maturity that filled her sixth solo album proper. Plenty of personality from this seasoned session pro (Anohni, Gorillaz _et al)_ too, as she pared back her music to burnished, sometimes torchy, New York soul.

https://www.youtube.com/watch?v=qbA\_E1iEuDI

The inimitable Basher’s first album in 11 years was, as he explained in MOJO 371, an investigation of “the craft of songwriting… It takes an enormous amount of effort to make it sound like you’ve made no effort at all.” Mission accomplished on _Indoor Safari,_ as Nick Lowe and his wrestling-masked accomplices Los Straitjackets made a clutch of new songs, revamps and covers (Garnett Mimms!) resemble lost hits from a golden age of rock’n’roll radio.

https://www.youtube.com/watch?v=IKkhyNPMvTA

If the reunion of Creation’s _other_ battling brothers stole most of the headlines in 2024, the simmering _entente_ between Jim and William Reid was the one that delivered the goods: a knockabout, argumentative memoir; and this equally spirited eighth album. _Glasgow Eyes_ was a late JAMC classic of pop-culture snark (“Andrew Oldham’s on the phone”), gnarly self-mythologising (“The dark shit”) and even trace elements of filial affection.

https://www.youtube.com/watch?v=x3\_NOCiRbII

A band who roughly resembled a cross between :a[Kate Bush]{href='https://www.mojo4music.com/articles/the-mojo-list/kate-bushs-50-greatest-tracks/' } and :a[Queen]{href='https://www.mojo4music.com/articles/stories/brian-may-interviewed/' } – or, perhaps, Florence & The Machine and The Darkness – were always going to be a bit much for some. Nevertheless, the gusto with which the mostly female band grappled with pomp-pop made them 2024’s breakout stars. Note, too, an autumn cover of :a[Sparks]{href='https://www.mojo4music.com/articles/the-mojo-list/sparks-best-albums-ranked/' }’ This Town Ain’t Big Enough For Both Of Us that asserted their art-rock bona fides with appropriate flamboyance.

**READ MORE: :a[The Last Dinner Party at Glastonbury Reviewed: Baroque pop angsts and mass arm-waving.]{href='https://www.mojo4music.com/articles/stories/the-last-dinner-party-at-glastonbury-review/' }**

https://www.youtube.com/watch?v=pETz4IMmeDU

Another strong year for British jazz found some of the main players stretching their wings, as Cassie Kinoshi and Nubya Garcia leaned harder into ravishing, complex orchestrations to supplement their soloing chops. Garcia, in particular, proved a sophisticated and democratic leader on her second solo album: ceding space to notable guests like esperanza spalding and Georgia Anne Muldrow; taking her turns in the spotlight on sax with notable discretion and maximum impact.

https://www.youtube.com/watch?v=vqHitDV703Q

The deep-pile richness of Garcia’s _Odyssey_ often recalled Kamasi Washington’s _Heaven And Earth_ (MOJO’s 2018 Album Of The Year), but Washington’s belated sequel switched up his own game: less cosmic grandeur, more funkiness, danceability and street smarts. As ever, Washington was another master strategist, uniting George Clinton, André 3000, sundry next-gen rappers and a surfeit of good ideas into a relentlessly joyful 86 minutes.

**READ MORE:** :a[**Kamasi Washington Interviewed: “It was difficult to make because it was so personal.”**]{href='https://www.mojo4music.com/articles/stories/kamasi-washington-on-his-new-album/' }

https://www.youtube.com/watch?v=M6iWnD9JGWc

Like :a[the Gallaghers]{href='https://www.mojo4music.com/articles/the-mojo-list/oasis-and-solo-top-ten-albums/' } and Reids, a rapprochement between Chris and Rich Robinson resulted in the first Black Crowes album since 2009 – and the best, perhaps, in nearly three decades. _Happiness Bastards_ charged through :a[Stones]{href='https://www.mojo4music.com/articles/new-music/the-rolling-stones-reviewed/' }/:a[Faces]{href='https://www.mojo4music.com/articles/the-mojo-list/rod-stewart-and-the-faces-best-albums-ranked/' } raunch, Southern soul and country honk with a punch reminiscent of their earliest records – a focus borne out by Rich’s pragmatic assessment in MOJO 364: “In order to do this properly, we had to not be dicks.”

https://www.youtube.com/watch?v=rHBu97e--xA

Gene Clark, Beth Gibbons and Mazzy Star were the classy influences cited by Kiwanuka upfront of his fourth album, and first since 2019: reference points that reasserted his music as a complex evolution of soul. The aptly titled _Small Changes,_ however, also reiterated his ability to make timelessly great music – historically resonant, subtly modern – and overcome self-doubt with the high-spec support of regular producers Danger Mouse and Inflo.

**“Everybody hurts, it seems to say, but this may help…** ★★★★” **:a[Read MOJO’s review of Small Changes in full.]{href='https://www.mojo4music.com/articles/new-music/michael-kiwanuka-small-changes-review/' }**

https://www.youtube.com/watch?v=BusZjcKbH5w

Marling’s 2020 album, _Song For Our Daughter,_ was a hypothetical concept, but _Patterns In Repeat_ made explicit the artist’s new reality, as Child Of Man opened with the gurgling of her one-year-old. And if Marling ruefully admitted in MOJO 372 that albums about motherhood had always bored her, she remained a subtle and uncommonly intelligent singer-songwriter – one alert to the lullaby clichés of the genre, and with the gifts to artfully circumnavigate them.

https://www.youtube.com/watch?v=tSeJqLyeCeE

The last men standing of Seattle’s ‘90s rock insurgency, Pearl Jam have weathered triumph and tragedy, from the rocket success of debut album _Ten_ to the unimaginable horror of Roskilde. Yet throughout it all, Eddie Vedder and his group have shown extraordinary endurance and resilience, a collective strength borne out in their body of work.

From _:a[Ten]{href='https://open.spotify.com/album/5B4PYA7wNN4WdEXdIJu58a?si=NlvEj0M3T_eoUx8ndnpE-w' }_ and _:a[Vitalogy]{href='https://open.spotify.com/album/5pd9B3KQWKshHw4lnsSLNy?si=3N3OwAYHRRe4HA0RZ2FkMw' }_’s grunge-hewn rock anthems through the eclectic spreads of 2002's :a[_Riot Act_]{href='https://open.spotify.com/album/7AOWw68DEPnDmTpquZw8bG?si=FGTiMQUSQa6T2-zD1nzmFg' } and _:a[Gigaton]{href='https://open.spotify.com/album/5bTixyz2GHx1YUqNUdzfut?si=ieK5ivU3QhuIzmqwlc48CQ' }_ in 2020 and 2023's _:a[Dark Matter]{href='https://open.spotify.com/album/7MNrrItJpom6uMJWdT0XD8?si=Xrhddg8kRGqT7sfqaKtvdA' }_, Pearl Jam have shown they both understand the chemistry that fuses the band together and also have a willingness to move its constituent parts to explore new terrain. Here, MOJO's Keith Cameron surveys the road travelled so far…

The new dawn promised by 1998’s _Yield_ quickly faded. Drummer Jack Irons quitting for health reasons was bad luck, but an album dominated by unprepossessing material recorded with a new producer, Tchad Blake, experimenting with the titular recording method when your latest drummer was Soundgarden rock godhead Matt Cameron seemed perverse (as did leaving Sad in the ‘Lost Dogs’ pile). The approach actually better suited the gentler songs – Light Years is a gem – but despite Brendan O’Brien’s remixing, the stilted _Binaural_ ultimately satisfied no one.

The efficacy of producer Brendan O’Brien’s tight ship regimen on 2009’s _Backspacer_ was emphasised by its successor. Lightning Bolt sessions began in 2012, then paused for a year of hum and hah plus side-projects, and the sense that no one ever reconvened on the same page haunts this fitful collection. In the credit column: Sirens, an unabashed McCready power ballad that Vedder sung into the next dimension.

The band’s imminent 20th anniversary was deemed the moment to belatedly go new wave; producer O’Brien took barely a month to help whip out the shortest PJ album (37 minutes). Some of the snap-happy cuts could actually have used more evolution, but The Fixer and Got Some vindicated the notion of EdVed fronting The Police. Even the ballads had zip, while Unthought Known was a readymade arena air puncher.

The mid-career self-titling flagged ‘_Avocado_’’s fresh start even before a note was heard – then Life Wasted tore out of the grooves like a caged rat, the urgency maintained throughout, be it the raw AC/DC growl of World Wide Suicide or the surf garage romp Big Wave. With several lyrics inspired by the US political landscape, Pearl Jam clearly felt the imperative for direct audience engagement – and remembered that it suited them.

Co-produced with engineer Josh Evans and even longer in the pot than 2013’s _Lightning Bolt_, the eco-conceptual _Gigaton_ improbably vindicated the five-guys-cook-a-pizza approach to record making. Amidst its wild mood swings and occasional missteps, this was a collectively invested, creatively intrepid PJ sometimes missing from the band’s 21st century output. Stadium folk (Retrograde), cosmic country-prog (Seven O’Clock), iceberg disco (Dance Of The Clairvoyants): all here and more besides, on an epic soundtrack for dangerous times.

Following the leads of :a[Ozzy Osbourne]{href='https://www.mojo4music.com/articles/the-mojo-list/black-sabbath-best-albums-ranked/' } and :a[The Rolling Stones]{href='https://www.mojo4music.com/articles/stories/inside-the-making-of-the-rolling-stones-new-album-hackney-diamonds/' }, for their twelfth album, Pearl Jam became the latest rock institution to plug into erstwhile Justin Bieber producer :a[Andrew Watt]{href='https://www.mojo4music.com/articles/stories/inside-the-making-of-the-rolling-stones-new-album-hackney-diamonds/' }, a younger dude adept at refurbishing old school for the earbud generation. That _Dark Matter_ succeeded so well was due to the band focusing their creative energy, just as Watt’s sonic Nutribullet technique condenses their core rumble into punchy blasts. “I’ll be the last one standing," Eddie Vedder sang on Got To Give, one of PJ's greatest hymns to people power. On this sort of late period form, you wouldn't bet against it.

Whatever your definition of ‘grunge’, 1991 debut _Ten_ was more along-for the-ride than driving-the-bus. Possibly stung by purist opprobrium, _Vs_ dressed down the Bad Company licks and permitted distortion, without ever conveying the sense the band were certain this was how to follow their surprise hit debut. But Eddie Vedder’s angst avatar was authentically dark-eyed on Daughter, while Rearviewmirror’s riff chase was pure berserker thrill. The start of a fruitful bond with producer Brendan O’Brien.

No less opaque than its predecessor, 2000’s _Binaural_, _Riot Act_ had redemptive forces at its core. Mostly recorded live, Pearl Jam got their experimental groove back, with some songs reportedly materialising as the tapes rolled, and others – notably Cameron’s You Are and Get Right – snapping with a left-field pop nous few imagined this band possessing. Then there was Bu$hleaguer, a mordant evisceration of the then US President, and Love Boat Captain, a post-Roskilde elegy.

Six months after singer Andrew Wood fatally overdosed, the core of Seattle hard rock hopefuls Mother Love Bone auditioned a singer who’d written lyrics to two of their new band’s songs while surfing. Pearl Jam’s debut was duly conceived out of tragedy, infused with a mystic spirit, and offered a Valhalla feast of hot fret action. The bombast got tempered on 2009’s remix, but songs like Alive and Even Flow endure for good reason.

Despite being written and recorded amidst inner turmoil – guitarist Mike McCready’s rehab, drummer Dave Abbruzzese’s imminent sacking – and with its release overshadowed by the band’s dispute with Ticketmaster, _Vitalogy_ presented Pearl Jam at last realising a sonic identity that felt inimitably their own. Perhaps not coincidentally, this was the album where Vedder assumed control of the band’s musical direction: the vibe was scruffier, the top lines stronger. Better Man and Corduroy remain setlist staples.

After calling a truce with Ticketmaster, Pearl Jam discovered they could engage with the commercial world and still maintain artistic integrity. Given To Fly and In Hiding were anthems for people who mistrust flags, with Vedder exultant amid the band’s newfound contemplative dynamic, rendering the epic intimate and vice versa. Do The Evolution, meanwhile, satirised capitalism from the perspective of an ape meeting a right-wing greed head. _Yield_ heralded an exciting new dawn.

Four albums in, the ’Jam figure out how to jam, boosted by new drummer Jack Irons’ expansive polyrhythmic capability, and the results are remarkable. From the hardcore smash of Lukin – inspired by Vedder’s stalker hell – to I’m Open’s minimalist mantra, from the doomed youth anthem Present Tense to Smile’s uncanny Neil Young homage, here was a band re-learning the art of communication. As Stone Gossard later reflected: “_No Code_ is pivotal.”

Shows such as tonight’s, featuring a legendary artist in what used be called the twilight years (:a[Paul McCartney]{href='https://www.mojo4music.com/articles/the-mojo-list/paul-mccartney-his-best-albums-ranked/' } is 82), were once described as swan songs. It would be “the last chance to see…” such-and-such. Cautious curiosity would outweigh excited expectation in the motivations of ticket-buyers.

How things have changed. Nowadays, we expect way more of Paul McCartney’s foundational generation of rock’n’rollers, and notwithstanding a flutter in the vocal here and there, our expectations tend to be fulfilled, or in the case of McCartney on his current tour and very much so tonight, exceeded.

Trim and dapper in waistcoat and collarless shirt (he removes his jacket and promises, “That’s the big wardrobe change of the evening”), he’s all business (“Let’s crack on…”) and despite the occasional unwelcome intrusions of hi-tech concert hoo-ha, this is a no-nonsense show: 34 songs in two and a half hours with no-more-than-regulation banter and no breaks for hydration or (unbelievable, at his age) micturition.

At every turn there’s a brilliant song, brilliantly performed. Got To Get You Into My Life is spine-tingling – the clashing guitars and horns generating _:a[Revolver]{href='https://www.mojo4music.com/articles/stories/david-crosby-on-the-beatles-revolver/' }_’s lysergic flashes. Proving McCartney can still write a useful psych-rocker, it’s followed by Come On To Me off 2018’s _:a[Egypt Station]{href='https://open.spotify.com/album/3uLrSFrNqa8CULSIU7e9v5?si=ME1WSkAYRB2P4sZLcoLUSA' }_. Let Me Roll It is even more masterly – its wonky riff is throttled out by McCartney on Les Paul as drummer Abe Laboriel Jr nails Macca’s original, highly eccentric drum part. The band segue info :a[Jimi Hendrix]{href='https://www.mojo4music.com/articles/the-mojo-list/jimi-hendrixs-top-ten-albums/' }’s Foxy Lady. Turns out they’re a smoking blues-rock combo too.

If the setlist has a narrative, it’s a story of relentless invention offset by a seemingly guileless, gut-instinct for feel-good vibes. Regardless of one’s feelings, generally, for Ob-La-Di, Ob-La-Da, tonight it brooks no opposition: it’s ridiculous yet ridiculously good. An inevitable Wonderful Christmastime is augmented, charmingly, by the Capital Children’s Choir, amid a dump of fake snow (“…Or is it dandruff?” jokes Macca).

Does McCartney lean into his most populist side? Hell yes. Earlier in the day an ultra-VIP, megaticket “soundcheck show” (MOJO not invited) was the deep cut showcase, where a blessed audience heard Ram On. A soupçon of this sort of thing would not have gone amiss in the main set tonight, although presumably few here shelled out expecting :a[Kreen-Akrore]{href='https://www.youtube.com/watch?v=RwtskRNsxRE' }.

McCartney’s skill – likely honed as a sanity-preservation system in the teeth of mega-fame, but also something he seems to have had all along – is to make things seem a little smaller than they are. It’s in his habitual description of the Beatles as a good or great “little band”. Sometimes it can grate, as when tonight he describes both Liverpool and Jacksonville – the most populous single city in Florida as “little places”, or when he follows a version of Blackbird – solo, on top of a rising platform panelled with video screens – with a story about the Beatles refusing to play a segregated gig in the South which verges on a claim to have defeated Jim Crow single-handed.

But what’s remarkable about this talent for bringing big things down to a manageable scale is how intimate this arena mega-show often seems. Yes, there’s a preposterous Live And Let Die (Live And Let Die _has_ to be preposterous) with face-melting pyro and weird video graphics that show the Houses of Parliament exploding (what are they trying to say here?) but then there’s Let ’Em In – which seems more than ever an invitation for all to join him in the parlour with Phil and Don and Auntie Gin. It encapsulates the generosity of spirit which is, surely, the Macca Manifesto. Halfway through a skiffly In Spite Of All The Danger, he plays a something less than fluent solo on acoustic. Afterwards, he turns to guitarist-bassist Brian Ray and mouths, MOJO swears, “That was crap!” Which is fine – welcome, even – there were never any illusions of infallibility around Paul McCartney.

At another highpoint, as Maybe I’m Amazed’s prog-soul changes climb to the rafters – the screens show pictures and film from his _:a[McCartne]{href='https://open.spotify.com/album/24lX0YfUlQfqb2T2GioLji?si=kdJfDgtRSoiMEMYFFZ2Blg' }_y-era Campbeltown retreat: chubby and bearded, with baby Mary hidden in his sheepskin coat. A song about needing help, and accepting it with wonder, does not lose any of its life-blood vulnerability on this stage.

It’s a fool who plays it cool. And Paul McCartney is no fool. Ending the main set, naturally, is Let It Be. Naturally, too, he turns the na-na-nas over to the audience, who are swept by cameras and beamed onto the screen. MOJO spots Giles Martin, baying along joyfully. Moments after, to our chagrin, there’s your correspondent, on the screen, \*literally\* stroking his chin. Well, what else is a rock journalist meant to do?

Topping that for an encore would faze most artists, but not Paul McCartney. In I’ve Got A Feeling – surely one of the reputational winners of the :a[Get Back]{href='https://www.mojo4music.com/articles/stories/the-beatles-get-back-marathon-mojos-verdict/' } TV fest – McCartney turns to the screen to watch rooftop John sing his bits. It’s very moving. :a[The Sgt. Pepper]{href='https://www.mojo4music.com/articles/stories/paul-mccartney-on-sgt-pepper/' } theme segues into a metallic Helter Skelter. Then the last three sections of the _:a[Abbey Road]{href='https://open.spotify.com/album/0ETFjACtuP2ADo6LFhL6HN?si=RfFoWj5PTK2s7jqC7DyQOw' }_ medley close us out. How else to end but with The End?

But is it, actually? There’s a fellow in the crowd holding up a sign: it simply says “135”. Macca points him out: “This guy’s seen us 135 times! Bit extreme…” Presumably, the night after, he’ll be here with a new one: 136.

Macca’s final sign-off suggests anything but finality: “SEE YOU NEXT TIME!”

Looks like someone’s going to have to write more signs.

Sgt Pepper’s Lonely Hearts Club Band / Helter Skelter

Golden Slumbers / Carry That Weight / The End

Presenting the definitive guide to **Led Zeppelin**’s albums, songs, films and books, **MOJO The Collectors’ Series: Led Zeppelin Essentials** is in UK shops and available to order **:a[HERE]{href='https://www.greatmagazines.co.uk/mojo-the-collectors-series-issue-59' }**!

Fifty years ago, in early 1975, Led Zeppelin released the album that many consider to be their masterpiece – _:a[Physical Graffiti]{href='https://open.spotify.com/album/4Q7cPyiP8cMIlUEHAqeYfd?si=l3HH-cR-RiGkWvgseGlXlA' }_. Epic in scope, breathtaking in ambition, over four sides of vinyl it cemented for ever the group’s reputation as the greatest rock act of the 1970s.

_Physical Graffiti_ came midway through a career that began with the pioneering, heavy sounds of 1969’s _:a[Led Zeppelin I]{href='https://open.spotify.com/album/3ycjBixZf7S3WpC5WZhhUK?si=DuJVCT3ETMS6IxJwgRpa-w' }_ and ended with the tragic death of drummer John Bonham in 1980. During that time, the group created an extraordinary body of work – centred around their eight classic studio albums – that invites constant re-evaluation and fresh insights.

Which is where MOJO Essentials comes in. In this 132-page deluxe bookazine, our expert team of writers will guide you through Zep’s recorded output, album-by-album, track-by-track, while also taking a deep dive into their live LPs, films, compilations, rarities, solo ventures and books.

Off-stage, the band’s story overflowed with drama – on-the-road excess, creative disagreements, devastating losses – and exclusive interviews from MOJO’s archives with Jimmy Page, Robert Plant and John Paul Jones provide a fascinating inside perspective on these events.

Beautifully illustrated with sleeve artwork and rare and famous photographs, Led Zeppelin Essentials is a must-have for all music fans and a perfect gift for the festive season.

**:a[ORDER YOUR COPY NOW!]{href='https://www.greatmagazines.co.uk/mojo-the-collectors-series-issue-59' }**

Of all the gigs to see in 2025 one bittersweet experience will be the final show ever by Electric Light Orchestra. Part of the BST concert series at London’s Hyde Park, the famous ELO flying saucer will land one last time on July 13 for the climax of the world jaunt aptly-named The Over And Out Tour.

The voyage goes all the way back to 1972, when leader Jeff Lynne played his first gigs with the band. After the group’s dissolution in 1986, with some false starts around the millennium, the group’s mastermind fully refitted the band for touring after establishing Jeff Lynne’s ELO in 2014. Now comes the farewell that was originally planned for 2020, but which was derailed by Covid.

“It will certainly be an emotional show for me,” Lynne tells MOJO, adding, “it has been great getting to tour the world and to this day at every show I am always surprised and delighted by the crowds and the energy they bring. I will miss it.”

US dates last year presented all the hits, drawing mainly on ELO’s ’70s heyday, with an all-killer climax of Shine A Little Love, Don’t Bring Me Down, Telephone Line and Mr Blue Sky. On this illustrious occasion, wonders MOJO, might there be any surprises, or old comrades taking a bow?

“We will of course be playing all the songs the fans want to hear,” Lynne says. “As for surprises, these are the final shows so who knows what can happen!”

While Lynne will be 77 when he plays Hyde Park – dates in Birmingham and Manchester precede the climactic London date – he stresses it’s not the end of the story and that more music will come, though whether that’s new ELO releases or productions for other people he isn’t saying (he also politely sidesteps questions about an ELO musical or a technologically-assisted rebirth like ABBA’s Voyage). “I am happy with what I’ve done, and the crowd reactions to the shows and the music have been amazing,” he says. “This is not a farewell to music. I am excited to return to the studio full-time, which is what I love!”

**The return of Ringo! Led Zeppelin on film! Oasis! Lana Del Rey! Alice Coltrane! Get the latest issue of MOJO for the essential 2025 preview. More info and to order a copy :a[HERE]{href='https://www.mojo4music.com/magazine/latest-issues/mojo-375-february-2025-the-rolling-stones/' }!**

**Mixing drinks, cutting tunes, foiling cops, life’s a gas when you’re Keith Richards, the human personification of the rock’n’roll spirit. But what of the shadows – mardy Mick, tragic Brian, dead Bobby and Mac – that loom? In 2015, with a rare solo record in the bag, it was time for MOJO to receive a full philosophical download from The Rolling Stones’ guitar guru. To celebrate Richards’ 81st birthday, we revisit the interview in full…**

It’s an offer few of us would refuse. “Fancy a drink?” asks :a[Keith Richards]{href='https://www.mojo4music.com/articles/the-mojo-list/keith-richards-greatest-songs/' }, a minute or two after the tape has clicked off. With MOJO nodding affirmatively, Richards leads us to the kitchen of his manager’s office high above New York’s Broadway, grabs two paper cups, empties a vodka miniature in each, and pours in a slug of fizzy orange.

Up until now, Richards and his myth – as rock’n’roll’s piratical mischief-maker, arch hedonist and Lord of Misrule – have entwined only abstractly in 90 minutes of roving conversation and salty anecdotes. But now MOJO sees the legend in action. Cigarette clamped in pursed lips, Richards takes a large bag of ice from the fridge, lifts it above his head and, with extraordinary violence, smashes it on the floor, sending dozens of cubes scattering everywhere.

“Hurgh, hurgh, hurgh,” he chuckles throatily, surveying the mess with a playful glint in his dark-brown eyes. He pulls a mock-surprised face. “Oh no, it looks like an Eskimo’s just pissed all over the floor…”

We ‘chink’ paper cups while an assistant is dispatched to corral the floe of errant ice. As the booze in Richards’ infamous ‘Nuclear Waste’ cocktail kicks in, MOJO looks at the giggling guitarist and wonders: what gives a 71-year-old man the licence to prepare a mid-afternoon drink in such a randomly irresponsible fashion?

The answer is self-evident: this man is Keith Richards, and a lifetime spent cavalierly upending social norms – whether turning heroin into a rock’n’roll fashion essential, clubbing a stage-invader with his Telecaster, or snorting his father’s ashes – is a sizeable component of his enduring allure.

Another, of course, is his transformative genius as a songwriter and guitarist, long proven in his 53 years as a Rolling Stone and certified anew by :a[_Crosseyed Heart_]{href='https://open.spotify.com/album/0tCyUNFFrg52TysW0GQ6M7?si=2VVn0AONSAyApTUZC6fLhw' target='_blank' rel='noreferrer noopener'}, Richards’ new solo album – only his third. Initiated as far back as 2008 and consciously conceived as a companion-piece to his rambunctious autobiography, Life, its songs are inspired by real events and painted in the panoply of Keef-anointed musical styles – picked acoustic Delta blues (the title track), reggae (a cover of Gregory Isaacs’ Love Is Overdue), Memphis soul (Lover’s Plea) and honking 12-bar boogie (Blues In The Morning). Help from of a cast of fast friends, including drummer-producer Steve Jordan, Norah Jones, Ivan and Aaron Neville, Waddy Wachtel, Bernard Fowler, Blondie Chaplin, and late Stones saxist Bobby Keys, add to the impression of Richards circling his wagon train for a spectacular and poignant final stand. “The idea behind the album was: Getting to know Keith more,” says Jordan. “The more of Keith the better. It’s been about capturing his personality and life on record.”

https://www.youtube.com/watch?v=WwdRMCgKVkc

As MOJO prepares to quiz the Human Riff, we overhear the build-up to his presidential-style arrival through a closed door – “He’s two blocks away”; “No, not to the studio, the office!”; “He’s downstairs now!” The tension becomes unbearable. Then suddenly in walks one of the most famous faces in rock’n’roll, a slight figure dressed in off-duty blue jeans, light cotton shirt and turquoise trainers. His craggy, elfin visage is tanned nut-brown like a country gardener’s, and his distinctive sticky-out ears uphold a grey trilby hat.

“Pleased to meet you,” rasps Richard in his slurred, faux-aristocratic baritone, ever accompanied by an unhurried, roguish chuckle that, one finds, can communicate everything from disbelief to deep joy to regret. “I’ll be with you in five minutes…”

Exactly 29 minutes later, Keith Richards re-enters the room and lights up a Marlboro. “Sorry about that. The Stones are about to go on tour again… Hurgh, hurgh, hurgh. Oh my! Are you ready…?”

**Your last solo record, _:a[Main Offender]{href='https://open.spotify.com/album/0C9EJAG9fcz2jqvpW6CKIN?si=rLXKhqEVT8acTzpBYlMP_g' target='_blank' rel='noreferrer noopener'}_, came out 23 years ago. Why make a solo record now – did you want to make a public statement about where you’re at?**

No… I realised that it’s been a long time since I’d taken myself outside of the Stones’ shack. It’s funny because there’s one part of you saying, (_piratey voice_) “You’re being disloyal!” Then you got the other Stones thinking, “You’re crazy, why do you need to go out and do that?” And I didn’t really _need_ to do it, I just enjoyed doing it. It’s an interesting way to work, just me and Steve \[Jordan\], which makes it fairly cheap. There’s none of the logistics involved in getting a whole band together, and after a while it started to fall into a nice groove. Steve has to take an awful lot of the credit for getting this album together. I almost have to be held at gun-point to do solo stuff – someone has to persuade me very convincingly to do it.

**I guess until the mid-1980s there was an unspoken agreement that the Stones wouldn’t make solo records. Is that right?**

Yeah, it was unspoken because it was never brought up. Then suddenly Mick brings out _:a[She’s The Boss]{href='https://open.spotify.com/album/0xJYbTxo4DMYSHkC7iSqPB?si=Jq1CSYHaQwqDQCzTdy3skw' target='_blank' rel='noreferrer noopener'}_ \[in 1985\]. Oh! In that case, suddenly it _was_ spoken (_laughs_). Well, we either do the Stones or not. So there was never anything written down. But if you did \[record solo\], you tried to choose places where it didn’t interfere with what the Stones are doing. With this record, I started it when we were in hibernation, in 2007-8, so there’s been no time pressure. All that’s important is when it comes out, it comes out right. I have a feeling that when Mick found out about it, he said, “Let’s get the Stones working again!”

Oh I don’t know. I’ll never know the truth – that’s _all_ I know. He doesn’t particularly like to work with me all the time, but he doesn’t want me to work with anyone else, either. He’s a bit jealous in that way.

**You seem to be exploring your favourite musical styles on _Crosseyed Heart_ – country blues, Memphis soul, ballads, lovers’ rock. Is that harder to do in the Stones?**

From my point of view, any of these songs could just as well have been Stones songs – if \[the others\] had been around at the time to record them. It’s just what I had available in my locker. There’s a lot of ‘hat’s off’ stuff here – to Robert Johnson, Gregory Isaacs, Otis Redding, Leadbelly, of course. Goodnight Irene is one of those songs that I’ve known forever. I’ve heard really good versions – like Leadbelly’s – and millions of bad ones. So I went back and checked the original lyrics and they were pretty heavy. “I take morphine and die” – suddenly you’re not in The Kingston Trio’s version any more! I tried to get close to the original, lyric-wise, and then 12-string it. I got a lovely little Brazilian mandolin that gave it that hurdy-gurdy sort of touch. It’s a wonderful instrument.

**With both Bobby Keys and another auxiliary Stone, :a[Ian McLagan]{href='https://www.mojo4music.com/articles/stories/he-always-had-a-great-spirit-about-him-paul-weller-remembers-ian-mclagan/' }, passing away last December, did you ever think this record might be your…**

(_Interrupts_) Like a last statement? No, I didn’t. (_Chuckles_) It’s what I do, make records, and I just happened to fall in with Steve and we found an interesting trail to follow. With writing the book, I came out the other end like I’d just lived my whole damned life twice. I wasn’t supposed to make it the first time around! (_Laughs uproariously_)

**At the height of the Stones’ drug madness in the early ’70s, Bobby was your partner in crime. Did you reflect fondly on those times when he died?**

When you say “soul brother” – him and me! I’m gonna miss that man. I never know whether to laugh or cry when I think of Bob. I tend to go to the laughing side. That cat had Buddy Holly as a neighbour, he was out on the road playing with Buddy Knox by the time he was 15. He was the repository of rock’n’roll – the stories, the people he played with. I didn’t even find out until a couple of years ago that he’s on Elvis’s Return To Sender (_sings sax part_). Boots Randolph couldn’t make it, so he recommended Bob.

**You two obviously got up to some extra-ordinary mischief together. That whole Cocksucker Blues period…**

Yeah, he was a mischievous man… He couldn’t help it! There was an incredible scene in the Customs House in Hawaii coming back from Australia \[in February 1973\]. Before we left Sydney, we were patting each other down, going, “Are you clean?” Everything must go! “EMG” it’s called. Then we fly out of Australia, land in Hawaii, the first port of entry to America. Bob’s there, this big Texan with his saxophone. “What have you got there?” “A saxophone.” He pulls it out of the case and out flies this hypodermic syringe which sticks in the wooden table top, right in front of the Customs man. (_Ironic voice_) “Anything to declare, sir?”

I go to catch the plane to ’Frisco and when I get on, Bobby Keys is in front of me. Apparently, Bobby had made quite an impression on the daughter of the governor of Hawaii, Mr Dole, and the minute he got popped at the airport he called her. They ripped up all the paperwork in front of him, and said, “On your way, get out of here!” Talk about one lucky fucker.

> I got a whole lot out of cocaine; I got more out of it than it took out of me.

**Some of the material on _Crosseyed Heart_ is very tender – your duet with Norah Jones on Illusion is lovely. Are you the romantic one in the Stones? You wrote Ruby Tuesday, did the basis of Angie…**

Yeah, there are a couple of ballads on here. I suppose you don’t get a lot of chance to explore that area with the Stones. But when we have, we’ve done some great songs – yes, Angie, for one. There’s that streak in me which is always, “I’m very sorry I’ve just pissed off the most beautiful woman in the world.” I’ll get on my knees and beg, y’know, “Come on back!”

https://www.youtube.com/watch?v=RcZn2-bGXqQ

  
But also that kind of writing strikes a chord in other people. That’s probably why I like country music – I like the melancholy, the yearning bit, when they get it right. Like The Everly Brothers – that beautifully crafted broken heart. (_Chuckles_) That’s what it’s about, that little arrow fired by Cupid.

**There’s the famous bootleg recording of you playing at the piano – Somewhere Over The Rainbow, in Toronto in 1977. Some may argue that not enough of that stuff got on record.**

It never felt appropriate to do it. Can you imagine if I turned up to a Stones session – “I’m playing piano on this one, and it’s called Somewhere Over The Rainbow!” I can hear the hooting of laughter in the air! But at the same time I love old standards, I love their construction. And I love playing piano, very badly; but the bits I can play, I can play well. Mozart or :a[Elton John]{href='https://www.mojo4music.com/articles/the-mojo-list/elton-john-his-best-albums-ranked/' }, no. There’s something about the piano when you’re a guitar player – maybe it’s just a physical thing, but the piano to me is like, “How simple! It’s all laid out on one strip…” I learned blues piano from \[late ‘sixth Stone’\] Ian Stewart – for whose band, I stress, I still proudly work.

https://www.youtube.com/watch?v=OflXCH\_vdvI

Keith leans forward and helps himself to another cigarette from the open packet on the table. Without his trademark kohl eye-liner or gypsy-scarf bandana, the man who all but invented the idea of cadaverous rock’n’roll chic, xeroxed multiple times by the likes of Johnny Thunders (RIP), Steven Tyler, Chrissie Hynde, Peter Perrett et al, appears in disarmingly rude health. Richards famously kicked heroin in the years following the 1977 Toronto bust but for the next 30 years pretty much everything else was fair game.

Then, in 2006, the unthinkable happened. After undergoing life-threatening brain surgery in New Zealand after falling from the bough of a tree (“I wasn’t collecting coconuts. I was sitting on a branch about seven feet from the ground and fell off”), Richards was advised by his doctors to knock cocaine on the head for good.

The result has been a many-years class-A-free Keef, which, depending on your point of view, is either a major blow to his once impeccable credentials as “the world’s most elegantly wasted human being”, or, more sensibly, a blessing that will hopefully anneal his good health for years to come. Richards assures me that, during our chat, his paper cup contains orange soda only; nevertheless, his speech is at times markedly slurred and, later, his attempt to enunciate the phrase “physical education instructor” has alarming shades of sloshed thespian.

**So… do you still drink much alcohol?**

I like to keep my hand in! (_Uproarious chuckle_) Other than that, I’m pretty straight these days…

**Is it a different experience making music clean? Is it more, or less, intense?**

It’s difficult to say once you’re on it. It’s like all those jazz players who took heroin because they thought they’d be like Charlie Parker. But no! All drugs are different and, yes, I would say I got a whole lot out of cocaine; I got more out of it than it took out of me. It made me concentrate more – I’d stay up four or five days. In that time, other people had changed their clothes, they’d shaved, they’d gone to work and come back. I found it’s something not to recommend – you’re not going to make any _better_ music out of it. But you’re certainly not going to make any worse. Sometimes I’ve chased songs for four or five days until I got it right. And I certainly didn’t do it on organic food!

**When you’re not being a Stone or the solo thing, you famously read a lot and…**

I still smoke a lot, too, and not just cigarettes (_laughs like a drain_). One of the most pleasant things to watch is a map of America \[showing States where cannabis is legal\], where it goes, Green… green… green… Whether it’s a good thing in the long run, I don’t know. When I started to smoke, usually it would be a back- stage thing. Usually black guys from other bands. “We’re doing three shows a day, on the bus all the time, and you guys come out and you’re all together musically and look great…” They’re like 40-odd years old, and we were 20. “How do you guys do this?” It was like, (_deep Southern voice_) “Well son, smoke one of these… and take one of these…” Drugs I fell into because it was part of the job, part of the _milieu_, to use the French. All of a sudden we needed help because we were knackered.

**So do you relax by reading a book while having a spliff?**

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