Black And Blue (Super Deluxe Remastered 2025) The Rolling Stones

• 1 Hot Stuff (2025 Mix) 05:20
• 2 Hand Of Fate (2025 Mix) 04:28
• 3 Cherry Oh Baby (2025 Mix) 03:57
• 4 Memory Motel (2025 Mix) 07:07
• 5 Hey Negrita (2025 Mix) 04:59
• 6 Melody (2025 Mix) 05:47
• 7 Fool To Cry (2025 Mix) 05:03
• 8 Crazy Mama (2025 Mix) 04:34
• 9 I Love Ladies 05:31
• 10 Shame, Shame, Shame 04:06
• 11 Chuck Berry Style Jam 05:30
• 12 Blues Jam 09:22
• 13 Rotterdam Jam 07:43
• 14 Freeway Jam 05:36
• Live At Earls Court, London, UK / 1976:
• 15 Honky Tonk Women (Live At Earls Court, London, UK / 1976) 03:38
• 16 If You Can’t Rock Me/Get Off My Cloud (Live At Earls Court, London, UK / 1976) 05:41
• 17 Hand Of Fate (Live At Earls Court, London, UK / 1976) 03:50
• 18 Hey Negrita (Live At Earls Court, London, UK / 1976) 04:36
• 19 Ain't Too Proud To Beg (Live At Earls Court, London, UK / 1976) 04:03
• 20 Fool To Cry (Live At Earls Court, London, UK / 1976) 04:56
• 21 Hot Stuff (Live At Earls Court, London, UK / 1976) 04:20
• 22 Star Star (Starfucker) (Live At Earls Court, London, UK / 1976) 04:01
• 23 You Gotta Move (Live At Earls Court, London, UK / 1976) 04:06
• 24 You Can't Always Get What You Want (Live At Earls Court, London, UK / 1976) 07:53
• 25 Band Intro (Live At Earls Court, London, UK / 1976) 01:02
• 26 Happy (Live At Earls Court, London, UK / 1976) 03:05
• 27 Tumbling Dice (Live At Earls Court, London, UK / 1976) 03:46
• 28 Nothing From Nothing (Live At Earls Court, London, UK / 1976) 02:43
• 29 Outa-Space (Live At Earls Court, London, UK / 1976) 04:32
• 30 Midnight Rambler (Live At Earls Court, London, UK / 1976) 11:04
• 31 It's Only Rock 'n Roll (But I Like It) (Live At Earls Court, London, UK / 1976) 05:02
• 32 Brown Sugar (Live At Earls Court, London, UK / 1976) 03:25
• 33 Jumpin' Jack Flash (Live At Earls Court, London, UK / 1976) 03:18
• 34 Street Fighting Man (Live At Earls Court, London, UK / 1976) 05:54
• 35 Sympathy For The Devil (Live At Earls Court, London, UK / 1976) 08:12
• Total Runtime 02:58:10

Info for Black And Blue (Super Deluxe Remastered 2025)

Nearly five decades after its original release, The Rolling Stones are set to celebrate their groundbreaking 1976 album Black and Blue with a definitive Super Deluxe Box Set, arriving globally on November 14th 2025 from Universal Music. Originally released in April, 1976 Black and Blue marked a bold new chapter for the band and now returns in a stunning, remixed, expanded and HiRes remaster.

The reissue includes a fresh 2025 mix by prog guru and remix ace Steven Wilson.

Black and Blue is the Stones’ 13th studio album, the first following the departure of former guitarist Mick Taylor who was eventually replaced by Ronnie Wood. The recording sessions famously served as auditions with guitar greats Harvey Mandel, Wayne Perkins, Jeff Beck, and Robert A. Johnson all contributing. Ultimately, free from commitments to The Faces, it was Ronnie Wood who joined Mick Jagger, Keith Richards, Charlie Watts & Bill Wyman as a bona fide Rolling Stone appearing on three tracks. Soon after Ronnie officially signed up for the band’s US tour, starting his continuing tenure with the group across five decades with multiple live & studio albums and dozens of Stones groundbreaking world tours. In a brand-new interview included in the new box set, Ronnie reflects on joining the band in 1976 with these words - "Right then, this is where I’m meant to be."

Musically, Black and Blue showcased The Rolling Stones’ adventurous spirit by infusing reggae, funk, and soul into their signature rock sound. The swaggering ‘Hot Stuff’, the driving ‘Hand of Fate’, the poignant ballad hit single ‘Fool to Cry’, fan favourite ‘Memory Motel’ plus ‘Melody’ featuring the talents of Billy Preston a heavy contributor to the whole album. Black and Blue was the second to be self-produced, credited to ‘The Glimmer Twins’ a pseudonym used by Jagger and Richards for their roles as producers. On release it went to number one on the USA album chart and stayed there for four consecutive weeks gaining immediate platinum status while in the UK Black and Blue went to number 2 in May 1976.

The Black and Blue 2025 reissue includes six track of previously unreleased recordings, including the Jagger/Richards composition ‘I Love Ladies’, plus a high-energy take on Shirley & Company’s ‘Shame, Shame, Shame’ which is available to listen to now here. Also included are four amazing Stones instrumental jams from the 1975 sessions featuring the guest guitarists.

Mick Jagger, lead vocals, backing vocals (1, 3 – 5), percussion (1), piano (4, 7) electric guitar (8)
Keith Richards, electric guitar (all tracks except 4), backing vocals (except 6,7), piano (4, 8), bass (8), co-lead vocals (4)
Ronnie Wood, electric guitar (3,5,8), backing vocals (1, 2, 4, 5, 8)
Bill Wyman, bass (except 8), percussion (1)
Charlie Watts, drums, percussion (1)
Billy Preston, piano (1, 2, 4, 5, 6, 8), organ (5, 6), percussion (6), backing vocals (1, 4, 5, 6, 8)
Nicky Hopkins, piano (7), organ (3)
Harvey Mandel, electric guitar (1, 4)
Wayne Perkins, electric guitar (2,7), acoustic guitar (4)
Ollie Brown, percussion (1, 2, 5, 8)
Ian Stewart, percussion (1)
Arif Mardin, horn (6)

Produced By The Glimmer Twins (Mick Jagger, Keith Richards)

Digitally remastered

The Rolling Stones
It's hard to overestimate the importance of the Rolling Stones in rock & roll history. The group, which formed in London in 1962, distilled so much of the music that had come before it and has exerted a decisive influence on so much that has come after. Only a handful of musicians in any genre achieve that stature, and the Stones stand proudly among them.

Every album the group released through the early Seventies - from The Rolling Stones in 1964 to Exile on Main Street in 1972 -- is essential not simply to an understanding of the music of that era, but to an understanding of the era itself. In their intense interest in blues and R&B, the Stones connected a young American audience to music that was unknown to the vast majority of white Americans. Though the Stones were not overtly political in their early years, their obsession with African American music - from Robert Johnson, Muddy Waters and Howlin' Wolf to Chuck Berry, Marvin Gaye and Don Covay - struck a chord that resonated with the goals of the civil rights movement. If the Stones had never made an album after 1965 they would still be legendary.

Soon, of course, the Stones - singer Mick Jagger, guitarists Keith Richards and Brian Jones, bassist Bill Wyman and drummer Charlie Watts, in those days - became synonymous with the rebellious attitude of that era. Songs like '(I Can't Get No) Satisfaction,' 'Street Fighting Man,' 'Sympathy for the Devil' and 'Gimme Shelter' captured the violence, frustration and chaos of that era. For the Stones, the Sixties were not a time of peace and love; in many ways, the band found psychedelia and wide-eyed utopianism confusing and silly. The Stones always were - and continue to be - tough pragmatists. Against the endless promises of Sixties idealism the Stones understood that 'You Can't Always Get What You Want.' You simply want to Let It Be? Why not Let It Bleed?

For those reasons, as the Sixties drained into the Seventies, the Stones went on a creative run that rivals any in popular music. Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972) routinely turn up on lists of the greatest albums of all time, and deservedly so. All done with American producer Jimmy Miller - 'in incredible rhythm man,' in Richards' terse description - those records shake like the culture itself was shaking. As the Stones were working on Let It Bleed, Brian Jones died, and the band replaced him with Mick Taylor, a guitarist whose lyricism and melodic flair counterbalanced Richards' insistent, irreducible rhythmic drive, adding an element to the band's sound that hadn't been there before, and opening fertile new musical directions.

After that, the Stones were an indomitable force on the music scene, and they have continued to be to this day. In 1978, the band's album, Some Girls, rose to the challenge of punk ('When the Whip Comes Down') - whose energy and attitude the Stones had defined a decade earlier - but also swung with the sinuous grooves of disco ('Miss You'). The album is one of the best of that decade. Meanwhile, guitarist Ron Wood had replaced Mick Taylor in 1975, adding another key element to the version of the Rolling Stones that would last another three decades - and counting.

Tattoo You (1981) added the classics 'Start Me Up' and 'Waiting on a Friend' to the Stones' repertoire, and took its prominent place among the Stones' most compelling - and most popular - later albums. Possibly the most underrated album of the Stones' career, Dirty Work finds the band at its rawest and most rhythmically charged, a reflection of the tumult within the band when it was recorded. True Stones fans have long worn their appreciation of Dirty Work as a hip badge of honor.

With the release of Steel Wheels in 1989, the Stones went back on the road again for the first time in seven years and inaugurated the latest phase of the band's illustrious career. They've made strong, credible new albums during this period - Voodoo Lounge (1994), Bridges to Babylon (1997) - along with the excellent live album Stripped (1995) and the fun, satisfying hits collection, Forty Licks (2002).

More significantly, though, the Stones have set a standard for live performance during this time. That is an achievement completely in accord with the band's history. When the Stones began to be introduced on their 1969 tour as 'The Greatest Rock and Roll Band in the World,' they were staking that claim on the basis of their live performances. It was almost fashionable for bands to withdraw from the road at that time - Bob Dylan and the Beatles had both done so. But the Stones set out to prove that writing brilliant songs and making powerful records did not mean that you were too lofty to get up in front of your fans and rock them until their bones rattled. The Stones' live shows - epitomized, of course, by Jagger's galvanizing erotic choreography - had earned the band its reputation in its earliest years, and that flame was being rekindled.

It was lit again twenty years later, and it's burning still. Since 1989 the Stones have toured every few years to ecstatic response. Bassist Darryl Jones, who had formerly played with Miles Davis, joined the band in 1994, replacing Bill Wyman, and the Stones turned what could have been a setback into a rejuvenating rush of new energy. The Stones' live success during this period is not a matter of dollars or box-office breakthroughs, though the band has enjoyed plenty of both. It's about demonstrating a vital, ongoing commitment to the idea that performing is what keeps a band truly alive.

And that's the critical misunderstanding of the question, 'Is this the last time?' that has been coming up every time the Stones have toured for close to forty years now. It's true that over the decades the Stones have been in the news for many reasons that have little to do with music - arrests, provocative statement, divorces, affairs, all the usual detritus of a raucous lifetime in the public eye. And there's no doubt that Mick Jagger is as famous a celebrity as the world has ever seen.

But, for all that, the Stones are best understood as musicians, and their own acceptance of that fact is what has enabled them to carry on so well for so long. For all the tabloid headlines, Mick Jagger is finally an extraordinary lead singer and one of the most riveting performers - in any genre - ever to set foot on a stage. Keith Richards is the propulsive engine that drives the Stones and makes their music instantly recognizable. Ron Wood is a guitarist who has formed a rhythmic brotherhood with Richards, but who also colors and textures the band's songs with deft, melodic touches. And Charlie Watts, needless to say, is one of rock's greatest drummers. He is both the rock that anchors the band, and the force that swings it. At once elegant in their simplicity and soaring in their impact, none of his gestures are wasted, all are necessary. He and Darryl Jones enliven the often-monolithic notion of the rock & roll rhythm section with an irresistible, unpretentious, jazz-derived sophistication.

Musicians live and create in the moment, and that's why fans still go see the Stones. Certainly there's also a catalogue of songs that only a handful of artists could rival. Surely there's also the desire to encounter a band that has played a pristine role in defining our very idea of what rock & roll is. But seeing the Rolling Stones live is to see a working band playing as hard as they can, and there's no last time for that. (Anthony DeCurtis, Source: ABKCO Music & Records, Inc. All Rights Reserved)

This album contains no booklet.