Vinyl Reports

A new super deluxe edition box set celebrating the 50th anniversary of The Rolling Stones’ April 1976 LP Black and Blue offers good reason to reconsider an album that often gets overlooked in this legendary, influential British rock band’s rich catalog. Critical response to (by all accounts) a popular hit album was curiously muddled at the time of its original release — something that, especially after listening to the entirety of this box set, feels unfair and unfounded.

Since Polydor/UMe released the 180g 5LP/1BD Black and Blue collection on November 14, 2025, I’ve been immersing myself in all of its content — which features new remixes, unreleased bonus studio tracks, and quite a few live concert recordings — a process that has helped me to more formally reconsider the album (and this period of the band itself, for that matter) for the innovative transitionary, experimental growth period it marks for the group.

The Rolling Stones’ 13th studio album, Black and Blue was the first to feature guitarist Ronnie Wood as a full-time member, having joined the band from the then-recently dismantled British rock powerhouse, the Faces, who had broken up as lead vocalist Rod Stewart formalized his solo career. At the time Black and Blue came out, I remember a number of friends being somewhat indifferent to the album, a factor corroborated by mixed reviews I remember reading at the time. But, over the years, and as I’ve developed my ability to judge an album for its own inherent strengths, I’ve taken Black and Blue under my wing as an important mid-period re-statement of purpose and stamina. It was the only album The Stones should have done then, in turn setting the stage for the mega-hit LP that followed it, June 1978’s Some Girls.

Black and Blue is an important crossroads album, arguably a line in the sand that firmly put the heavy specter of landmark achievements like Let It Bleed (1969), Sticky Fingers (1971), and Exile on Main Street (1972) behind them, allowing The Stones to look ahead to a future fun-fueled with funk, reggae, disco, punk, and pop, as well as their beloved blues-rock roots. Music was again changing, and with it so rolled The Rolling Stones — gathering no moss, as the saying goes.

Before we dig down deeper into the contents of this fine new 5LP/1BD box set, let’s try to unpack the music’s underlying DNA first. From official press materials we learn, “The Black and Blue 2025 reissue features a brand new [stereo] mix by acclaimed producer Steven Wilson, alongside a six-track disc of previously unreleased recordings, including the Jagger/Richards composition ‘I Love a Lady,’ [see Footnote 2] plus a high-energy take on Shirley & Company’s ‘Shame, Shame, Shame.’ Also included are four amazing Stones instrumental jams from the 1975 sessions featuring guest guitarists [Harvey Mandel, Jeff Beck, and Robert A. Johnson].”

While no official LP-pressing details were offered, some by-now de rigueur sleuthing from yours truly discovered (in the LP deadwax) that the vinyl pressing lacquers were cut by acclaimed mastering engineer Matt Colton of Metropolis Studios in London. Also tucked away in that sacred silent vinyl space between the music and the label, I discovered the distinctive logo of MPO, a vinyl manufacturing firm, was stamped in there. It was thus likely that the discs in this set were pressed at one of their locations in France, which concurs with the white sticker on the bottom-left back of the box’s outer plastic shell that reads, “Made in France.” And while we’re not 100 percent sure as to the set’s analog purity (if you will), it is fair to reason that there were likely digital steps made along the way creating these new — and first time — mixes.

Also included in the box are a 100-page hardback book and a replica tour poster. The SRP for the 5LP/1BD Black and Blue box set is $229.99, and it is available at Music Direct here, and/or via the MD link graphic below that’s just ahead of the tracklisting section. You can, of course, order the 2LP edition featuring the core album remix and outtakes/jams disc for $37.99 at MD here. A limited edition, exclusive black-and-blue marbled vinyl 5LP/1BD set is available for $249.98 at The Stones’ official site store, alongside a limited 1LP zoetrope vinyl edition ($35.98; shown below) and 1LP version of just the core album ($29.98) here. For the digitally inclined, the Stones shop also offers 4CD/1BD ($131.76), 2CD ($24.98), and 1CD ($13.98) options as well. Note that certain editions may be sold out at either MD or The Stones store, so cross-check availability accordingly, because they’re all available somewhere.

The impact of Ronnie Wood on Black and Blue is important and undeniable, formally cementing his relationship with the band that had been brewing for some time. For example, while doing a little bit of research, I learned some important details worth noting that I’d never noticed before (offered here with a sincere mea culpa to the harder-core Stones fans who may be familiar with this factoid). It turns out that the title track on The Stones’ prior album, October 1974’s It’s Only Rock ’N Roll, actually began as a possible Faces track — recorded in Wood’s basement home studio and featuring Faces drummer Kenney Jones and bassist Willie Weeks, as well as Wood on 12-string guitar and Mick Jagger and David Bowie on the original basic track. So, yeah, it is not Charlie Watts playing drums on that track, which retains the original rhythm section and gives Wood a credit for “inspiration.” Ronnie Wood effectively delivering a hit (the single made it to No. 16 in the U.S., and No. 10 in the UK) likely helped pave the way towards his more formalized future as a full member of The Rolling Stones.

When I went back to listen to my original 1976 U.S. pressing of Black and Blue, I was actually pleased how good it sounded, as produced by Jagger and Richards themselves (a.k.a. The Glimmer Twins). Steven Wilson’s new stereo remix on LP1 in the box set doesn’t take away anything from that original vibe, but it does add a certain amount of new clarity (which is what he’s renowned for, in remixing circles). Overall, I quite like the new mix — but if you have a clean original copy, you’re probably going to be okay with that one as well. (Footnote 1) Of course, if you are interested in Wilson’s non-vinyl mixes that appear on the BD, that is an entirely different (and quite enjoyable) listening experience unto itself.

The outtakes included on LP2 in this collection are where things start to get very interesting. While not entirely revelatory, the second side, featuring Jeff Beck, is intriguing, but I can kind of hear why that didn’t work out as a full-time thing (though he would show up as a special guest in concert over the years). But it’s hard — for me, at least — to imagine The Stones breaking out Max Middleton’s “Freeway Jam” (LP2, Side 4, Track 3, and a song originally appearing on Beck’s breathtaking March 1975 instrumental jazz fusion LP, Blow by Blow) every night on tour! Still, it’s cool to hear them trying out ideas together.

Unreleased tunes like “I Love a Lady” (LP2, Side 1, Track 1) offer more evidence of Mick’s love for ’70s soul flavors, not to mention showcasing his emerging falsetto that appears more fully formed on “Fool to Cry” (LP1, Side 2, Track 3) and would later appear on songs like “Miss You” (the No. 1 hit from Some Girls) and the title track to June 1980’s Emotional Rescue. The Stones’ cover of Shirley & Company’s 1974 disco hit “Shame Shame Shame” (LP2, Side 1, Track 2) — written by Sylvia Robinson (1956’s “Love Is Strange”), an important force who later founded the pioneering hip-hop/rap label Sugarhill, among many other accomplishments — is a loose, fun falsetto romp as well.

For me however, the most memorable moments in the 50th Anniversary Black and Blue box set are to be found in the high-quality concert recordings, especially the full, 21-song Earls Court 3LP concert collection on LPs 3-5. Listening to this performance, I hear a band that’s well-oiled, giving their all for an adoring audience. As a teenager in the ’70s, I remember that, when Some Girls came out in 1978, many critics gushed about how the band sounded suddenly “reinvigorated” and “vital,” especially in the face of the punk/new wave movement of those times. But really, as we can hear on these live recordings, that was already happening in 1976 — and maybe even earlier than that. (Perhaps it never really went away at all!)

Moments like “If You Can’t Rock Me / Get Off My Cloud” (LP3, Side 1, Track 2) as well as “Fool to Cry,” followed by “Hot Stuff” and then “Star Star” (LP3, Side 2, Tracks 2-4, respectively), all show a band ready and able to serve up wide stage dynamics before a massive audience. It’s a joy hearing Keith Richards — and, on the included BD, seeing — him sweat his way through “Happy” (LP2, Side 1, Track 3).

Overall, the sound quality is very good throughout the Black and Blue box set. All of the discs I’ve played so far have been quiet and well-centered. Given the price point for this collection, it would have been nice if the discs had been packaged in plastic-lined audiophile-grade inner sleeves in addition to the thin-but-sturdy oaktag-cardboard inner covers. Fortunately, those simply designed blue sleeves are loose enough that it’s easy to remove the albums without scuffing the discs. Naturally, I would recommended adding some new inner sleeves to all these LPs. (Footnote 2)

That said, I kind of wish a little bit more thought had gone into the overall packaging design. Sure, the plastic slip-on outer sleeve is pretty cool, revealing a heavily contrasted image of the Black and Blue cover photo as a literal black-and-blue image. This concept is continued throughout the inner sleeves, but once you get used to seeing it, there is not much else to engage you. It’s mostly just fields of blue — and black!

Besides the immersive Dolby Atmos mix of the main album by Steven Wilson, one of the other joys on the BD is a live television broadcast that has never been formally released as far as I know. Les Rolling Stones Aux Abattoirs, Paris-Juin 1976 again offers evidence that The Stones were indeed still firing on all cylinders in concert. I see a band that was far from tired and irrelevant, and still wowing crowds — just as they would continue to do for decades ahead! It was a particularly special joy to see guest keyboardist Billy Preston challenging Mick to a dance-off during some of his songs (but I won’t spoil who wins). My only disappointment was discovering that the full show was not included, as I’ve found evidence of a 20-song version easily viewable online, while only 11 songs are included here. (Footnote 3)

As for my ratings, I have no problem giving the Music in the Black and Blue Super Deluxe Edition box set a solid 9, and it also warrants a solid 9 for Sound. As raw rock & roll concert recordings go, the Earls Court show on LPs 3-5 sounds full, clean, and generally well mixed. The original album’s stereo remixes by Steven Wilson offer additional clarity — no small feat, given the album sounded pretty good to begin with! (Footnote 4)

All in all, I like Black and Blue more than ever as an essential Stones release, and the included live concert recordings are most decidedly not throwaway performances. Personally, I would have liked more studio outtakes to have been included — if they exist — because I like that sort of thing. However, much akin to the Grateful Dead, it is a reasonable argument to make that The Rolling Stones were at their best on the concert stage, so including the 3LP set of the full Earls Court performance makes quite good sense here (ditto with the Paris performances on the BD).

Now I can’t wait to see/hear what The Rolling Stones will offer up on the impending 50th Anniversary of 1978’s Some Girls, and see how they expand upon the oversized Super Deluxe Edition released in 2011 that was a 2CD/1DVD release with only a bonus 45 representing the vinyl medium. It’s just a couple of years away now, after all. . .

Author bio: Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for eCoustics, among others, and you can see more of his impressive C.V. at LinkedIn.

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Footnote 1: AP editor Mike Mettler adds: I too dug out my well-loved original Black and Blue LP (COC 79104) — the PRC Richmond pressing, with lacquers cut by Lee Hulko — and it still holds up as a great, of-era spin. I agree that Steven Wilson’s stereo mix on LP1 in the box set offers a different, punchier presence, as is his penchant. Frankly, I quite like having both the 1975 and 2025 versions available to listen to on vinyl, depending on my mood (i.e., then, or now). And I also concur with Mark’s inner-sleeve slam/citation, as I too put all five LPs in plastic-lined audiophile-grade sleeves. And while I do love the visuals in the 100-page hardback book, I wish the track credits and recording info had been made more clear and direct, and were more detailed. I mean, the photos credits are at least 10 times more specifically listed on the same page! You’ve allotted all that space in this lovely-looking hardback, so why not use it?

Footnote 2: Mettler again. All of my B&B box set LPs were well-centered and deep black, and I only detected a few pops and clicks here and there — right before “Melody” (LP1, Side 2, Track 2), and in the runout groove at the end of LP1, Side 2 — but not during any musical passages. The Outtakes and Jams LP, and the three live LPs, were all sans pops.

I should also note that the official press release Mark cites in his review text mislabeled the first outtakes track as “I Love Ladies” plural, but we’ve corrected the title to read exactly how it appears on LP2, Track 1: “I Love a Lady.”

Footnote 3: Mettler once more: I concur that it’s great seeing the live footage for both shows on the BD, and hearing all of Earls Court on LPs 3-5. Given The Stones penchant for releasing separate multidisc live LP sets in recent years, I wouldn’t put it past them to consider issuing Les Rolling Stones Aux Abattoirs, Paris-Juin 1976 as a standalone vinyl release at some point — and hopefully with all the missing tracks Mark noted, as they have four nights that The Stones played in Paris between June 4-7, 1976, from which to curate a full set. (And if they indeed come around to doing such a thing, consider my copy already reserved!)

One major BD nit from my end, however: Nowhere does it actually say, other than on the BD menu itself, that this disc contains Steven Wilson’s three mixes of the core album (Dolby Atmos, DTS-HD Master Audio 5.1, and PCM Stereo), the Earls Court performance, or the stereo-only mixes of the outtakes and jams, seeing how the BD cover only references Live at L’Abattoir (and sans the final s, at that). C’mon, folks!

Footnote 4: Mettler, to wrap it up: As for my ratings, I also give the Music a 9, as I too feel Black and Blue is much, much better than it’s often been credited. For relative Ronnie Wood-era context, I would give the Music for Some Girls a 9.5, while Emotional Rescue would get an 8, and Tattoo You would get a 10. As for the Sound of the Black and Blue box, I would drop it down a tick to 8.5 overall. It’s really quite bleepin’ good, especially on 180g.

THE ROLLING STONES
BLACK AND BLUE SUPER DELUXE EDITION
180g 5LP/1BD (Polydor/UMe)
MUSIC: 9
SOUND: 9

Original album produced by The Glimmer Twins (Mick Jagger / Keith Richards)
New 2025 Black and Blue remix by Steven Wilson
New lacquers mastered by Matt Colton of Metropolis Studios, London
Vinyl pressed in France at MPO

LP1: Steven Wilson Remix (2025)

LP1, Side 1
1. Hot Stuff
2. Hand Of Fate
3. Cherry Oh Baby
4. Memory Motel

LP1, Side 2
1. Hey Negrita (Inspiration By Ron Wood)
2. Melody (Inspiration By Billy Preston)
3. Fool To Cry
4. Crazy Mama

LP2: Outtakes And Jams

LP2, Side 1
1. I Love A Lady
2. Shame, Shame, Shame
3. Chuck Berry Style Jam (With Harvey Mandel)

LP2, Side 2
1. Blues Jam (With Jeff Beck)
2. Rotterdam Jam (With Jeff Beck And Robert A. Johnson)
3. Freeway Jam (With Jeff Beck)

LPs 3-5: Live At Earls Court (1976)

LP3, Side 1
1. Honky Tonk Women
2. If You Can’t Rock Me / Get Off My Cloud
3. Hand Of Fate
4. Hey Negrita (Inspiration By Ron Wood)

LP3, Side 2
1. Ain’t Too Proud To Beg
2. Fool To Cry
3. Hot Stuff
4. Star Star

LP4, Side 1
1. You Gotta Move
2. You Can’t Always Get What You Want
3. Band Intro
4. Happy

LP4, Side 2
1. Tumbling Dice
2. Nothing From Nothing
3. Outa-Space

LP5, Side 1
1. Midnight Rambler
2. It’s Only Rock N Roll (But I Like It)
3. Brown Sugar

LP5, Side 2
1. Jumpin’ Jack Flash
2. Street Fighting Man
3. Sympathy For The Devil

BLACK AND BLUE – BLU-RAY

Black And Blue (Steven Wilson Remix 2025)
PCM Stereo 96/24, DTS-HD Master Audio 96/24 & Dolby Atmos

1. Hot Stuff
2. Hand Of Fate
3. Cherry Oh Baby
4. Memory Motel
5. Hey Negrita (Inspiration By Ron Wood)
6. Melody (Inspiration By Billy Preston)
7. Fool To Cry
8. Crazy Mama

Les Rolling Stones Aux Abattoirs, Paris-Juin 1976
PCM Stereo, DTS-HD Master Audio & Dolby Atmos

1. Band Intro
2. Honky Tonk Women
3. Hand Of Fate
4. Fool To Cry
5. Hot Stuff
6. Star Star (Starf---er)
7. You Gotta Move
8. You Can’t Always Get What You Want
9. Band Introductions
10. Happy
11. Outa-Space
12. Jumpin’ Jack Flash
13. Street Fighting Man

Live At Earls Court Live 1976
PCM Stereo 96/24 & Dolby Atmos

1. Band Intro
2. Honky Tonk Women
3. If You Can’t Rock Me / Get Off My Cloud
4. Hand Of Fate
5. Hey Negrita
6. Ain’t Too Proud To Beg
7. Fool To Cry
8. Hot Stuff
9. Star Star
10. You Gotta Move
11. You Can’t Always Get What You Want
12. Happy
13. Tumbling Dice
14. Nothing From Nothing
15. Outa-Space
16. Midnight Rambler
17. It’s Only Rock N Roll (But I Like It)
18. Brown Sugar
19. Jumpin’ Jack Flash
20. Street Fighting Man
21. Sympathy For The Devil

Outtakes And Jams
Stereo Only

1. I Love A Lady
2. Shame, Shame, Shame
3. Chuck Berry Style Jam (With Harvey Mandel)
4. Blues Jam (With Jeff Beck)
5. Rotterdam Jam (With Jeff Beck And Robert A. Johnson)
6. Freeway Jam (With Jeff Beck)