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Goats Head Soup
Goats Head Soup
Goats Head Soup
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Goats Head Soup
Studio album by
the Rolling Stones
Released31 August 1973 (1973-08-31)
Recorded25 November 1972 – 5 February 1973
Studio
Genre
Length46:56
LabelRolling Stones
ProducerJimmy Miller
The Rolling Stones chronology
Exile on Main St.
(1972) 		Goats Head Soup
(1973) 		It's Only Rock 'n Roll
(1974)
Singles from Goats Head Soup
  1. "Angie" / "Silver Train"
    Released: 20 August 1973
  2. "Doo Doo Doo Doo Doo (Heartbreaker)" / "Dancing with Mr. D"
    Released: December 1973

Goats Head Soup is the eleventh studio album by the English rock band the Rolling Stones, released on 31 August 1973 by Rolling Stones Records. Like its predecessor Exile on Main St., the band composed and recorded much of it outside of the United Kingdom due to their status as tax exiles — specifically, in Jamaica and the United States. The album contains 10 tracks, including the lead single "Angie" which went to number one as a single in the US and the top five in the UK.

The album was the last to be produced by Jimmy Miller, who was an architect of the Rolling Stones sound during their most acclaimed period which began with 1968's Beggars Banquet. Bass guitarist Bill Wyman appears on only three of the album's ten tracks, but the rest of the Rolling Stones—lead vocalist Mick Jagger, guitarists Keith Richards and Mick Taylor, and drummer Charlie Watts—play on every track, with the exception of "Winter", which does not feature Richards. Regular Rolling Stones collaborators, including saxophonist Bobby Keys, organist Billy Preston, and pianists Nicky Hopkins and Ian Stewart, also feature.

Goats Head Soup achieved number one chart positions in the UK, US and several other world markets. However, it received mixed reviews from critics and audiences and is generally seen as the beginning of the band's decline after a string of critically acclaimed albums. However, in recent times its reception has grown in stature.[2] The band supported the album on a tour of Europe following its release. The album was remastered and released in 1994 and again in 2009 by Virgin Records and Universal Music respectively. It was remixed by Giles Martin for a 2020 reissue, including a deluxe edition with bonus tracks and unreleased outtakes. The re-issue returned the album to number one in the UK charts.

Recording

[edit]

In November 1972 the band relocated to Dynamic Sounds studio in Kingston, Jamaica. Keith Richards said in 2002: "Jamaica was one of the few places that would let us all in! By that time about the only country that I was allowed to exist in was Switzerland, which was damn boring for me, at least for the first year, because I didn't like to ski ... Nine countries kicked me out, thank you very much, so it was a matter of how to keep this thing together ..."[3]

Of the recording process, Marshall Chess, the president of Rolling Stones Records at the time, said in 2002, "We used to book studios for a month, 24 hours a day, so that the band could keep the same set-up and develop their songs in their free-form way, starting with a few lyrics and rhythms, jamming and rehearsing while we fixed the sound. It amazed me, as an old-time record guy, that the Stones might not have played together for six or eight months, but within an hour of jamming, the synergy that is their strength would come into play and they would lock it together as one ..."[4]

Jagger said of their approach to recording at the time, "Songwriting and playing is a mood. Like the last album we did (Exile on Main St.) was basically recorded in short concentrated periods. Two weeks here, two weeks there – then another two weeks. And, similarly, all the writing was concentrated so that you get the feel of one particular period of time. Three months later it's all very different and we won't be writing the same kind of material as Goats Head Soup."[5]

On the sessions and influence of the island, Richards said, "The album itself didn't take that long, but we recorded an awful lot of tracks. There were not only Jamaicans involved, but also percussion players who came from places like Guyana, a travelling pool of guys who worked in the studios. It was interesting to be playing in this totally different atmosphere. Mikey Chung, the engineer at Dynamic, for example, was a Chinese man – you realise how much Jamaica is a multi-ethnic environment."[6] The album title is believed to be a reference to the Jamaican dish mannish water.[7]

The first track recorded at Dynamic was "Winter", which Mick Taylor said started with "just Mick (Jagger) strumming on a guitar in the studio, and everything falling together from there".[5] The main theme of the lyrics of the song go back to a 1968 outtake "Blood Red Wine". The song is also the only song on the album that does not feature Richards as a performer, with the electric rhythm guitar being played by Jagger. Mick Taylor would later record longer versions of "Winter" with Carla Olson for her The Ring of Truth album and "Silver Train" for their Too Hot for Snakes album.

The album's lead single, "Angie", was an unpopular choice as lead single with Atlantic Records which, according to Chess, "wanted another 'Brown Sugar' rather than a ballad".[8] Although the song was rumoured to be about David Bowie's first wife Angela,[9][10][11][12] both Jagger and Richards have consistently denied this.[12] In 1993, Richards, in the liner notes to the compilation album Jump Back: The Best of The Rolling Stones, said that the title was inspired by his baby daughter, Dandelion Angela.[13] However, in his 2010 memoir Life, Richards denied this, saying that he had chosen the name for the song before he knew the sex of his expected baby: "I just went, 'Angie, Angie.' It was not about any particular person; it was a name, like 'ohhh, Diana.' I didn't know Angela was going to be called Angela when I wrote 'Angie'. In those days you didn't know what sex the thing was going to be until it popped out. In fact, Anita named her Dandelion. She was only given the added name Angela because she was born in a Catholic hospital where they insisted that a 'proper' name be added."[14] According to NME, the lyrics written by Jagger were inspired by Jagger's breakup with Marianne Faithfull.[10]

This was the last Rolling Stones album produced by Jimmy Miller, who had worked with the band since 1968's Beggars Banquet. Miller had developed a debilitating drug habit during the course of his years spent with the Stones.

Bill Wyman plays bass on only three tracks on the album, with a majority of the bass duties being handled by Richards and Taylor instead. Aside from the official band members, other musicians appearing on Goats Head Soup include keyboard players Billy Preston, Nicky Hopkins and Ian Stewart.

Recording was completed in January 1973 in Los Angeles and May 1973 at London's Island Studios. The song "Silver Train" was a leftover from 1970s recordings at Olympic Sound, but was re-recorded in Los Angeles at Village Recorders. Goats Head Soup was also the band's first album without any cover songs since Their Satanic Majesties Request in 1967.

The sessions for Goats Head Soup were abundant with outtakes. Two of these – "Tops" and "Waiting on a Friend" – would surface on Tattoo You in 1981, and feature Mick Taylor on guitar;[15] "Through the Lonely Nights" became the B-side to the "It's Only Rock 'n Roll (But I Like It)" single and was released on CD for the first time on the 2005 compilation Rarities 1971–2003. It is a soft rock ballad that features Richards on wah wah/Leslie speaker filtered guitar with Taylor playing a brief solo. In addition, "Short and Curlies" was started at the Goats Head Soup sessions and ended up appearing on the It's Only Rock n' Roll LP.

Release

[edit]

At the time of release, Jagger said, "I really feel close to this album, and I really put all I had into it ... I guess it comes across that I'm more into songs. It wasn't as vague as [Exile on Main St.] which kind of went on so long that I didn't like some of the things. There's more thought to this one. It was recorded all over the place over about two or three months. The tracks are much more varied than the last one. I didn't want it to be just a bunch of rock songs."[16]

The lead single, "Angie", was released on 20 August 1973 by Rolling Stones Records, with "Silver Train" as the B-side.[17] It reached number one in the United States and became a worldwide hit. Goats Head Soup was subsequently released on 31 August, with the catalogue number COC 59101,[18] and also shot to the top of charts worldwide. The band attracted controversy with "Star Star", which was banned by the BBC in September due to its obscene lyrics. The song was originally titled "Starfucker" until Atlantic Records owner Ahmet Ertegün (Atlantic was the distributor of Rolling Stones Records) insisted on the change.[19]

The Rolling Stones' autumn 1973 European Tour followed shortly after the album's release, in which four slots in the set list were given to the new material: "Doo Doo Doo Doo Doo (Heartbreaker)", "Star Star", "Dancing with Mr D" and "Angie". In addition, there were a few earlier performances of "Silver Train" and "100 Years Ago". "Doo Doo Doo Doo Doo (Heartbreaker)" was also played on the 1975 U.S. tour. "Star Star" was featured regularly on the 1975, 1976 and 1978 tours, and "Angie" was played in 1975 and occasionally in 1976.[citation needed]

Album art

[edit]

The album cover was designed by Ray Lawrence and photographed by David Bailey, a friend of Jagger's who had worked with the Rolling Stones since 1964. The portrait of Jagger on the front cover was approximately life size in the original 12-inch LP format. Jagger was reluctant to be shot enveloped by a pink chiffon veil, which Bailey said was meant to look like "Katharine Hepburn in The African Queen". The album's gatefold has Taylor, Wyman and Watts wrapped in a similar fabric, and Richards on the back.[20][21] The album's original rejected cover art featured the entire band as centaurs and an image of goat's head soup, a Jamaican dish made from a goat's body parts, such as the head, feet and testicles.[1]

Critical reception

[edit]

Contemporary reviews

[edit]

Critical reaction to the album was varied at the time. In Rolling Stone, Bud Scoppa called it "one of the year's richest musical experiences".[22] On the other hand, Nick Kent of the NME found the record lacking in originality, stating, "on Goat's Head Soup the Stones have really nothing to say, but somehow say it so well that the results transcend the redundancy of the project in the first place". He called the album "truly great", giving praise to "Dancing with Mr. D" especially, and recommended that listeners "listen to it carefully".[23] The Chicago Tribune's Lynn Van Matre agreed, finding the record uninnovative compared to prior works. Although she found it "more carefully put together" than Exile on Main St., she felt Goats Head Soup came across as a collection of songs rather than a cohesive project. Nevertheless, Van Matre praised the music, particularly "Heartbreaker".[24] Charlie Gillett of Let It Rock magazine concluded that with Goats Head Soup, the Stones "finally ousted their rivals" as "The World's Greatest Rock Band", and deemed it "their first LP which is unquestionably the best rockin' groove of its time".[25]

Billboard called Goats Head Soup "another fine album characterised as always by a series of fine, hard rockcuts from Mick Jagger and Keith Richard and superb guitar work from Mick Taylor".[26] The reviewer particularly praised the ballads "Winter", "Coming Down Again" and "Angie".[26] Writing for Zoo World, Arthur Levy considered the record on par with Sticky Fingers and Exile on Main St., adding that the three albums "are now the seeds of a new oeuvre".[27]

By contrast, Lester Bangs derided the album in Creem, saying, "There is a sadness about the Stones now, because they amount to such an enormous 'So what?' The sadness comes when you measure not just one album, but the whole sense they're putting across now against what they once meant ..."[5] The Philadelphia Inquirer's Jack Lloyd admitted that the LP would sell well, but overall found the album failed to live up to the band's previous works.[28] Greg Shaw of Phonograph Record said the record had "no redeeming qualities whatsoever" and found "nothing good" about it.[29] A year later, when reviewing It's Only Rock 'n Roll, Shaw considered Goats Head Soup to be the band's worst album up to that point, writing, "[it's the album] in which the rock & roll was insincere and the 'sensitive' material seemed forced and out of character."[30]

Retrospective reviews

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic84/100
(deluxe)[31]
Review scores
SourceRating
AllMusicStarStarStarHalf star[32]
Christgau's Record GuideB[33]
MusicHound RockStarStar[34]
NME6/10[35]
Pitchfork8.0/10[36]
QStarStarStarStar[35]
Rolling StoneStarStarStarStar[37]

In his retrospective review for AllMusic, Stephen Thomas Erlewine writes: "Sliding out of perhaps the greatest winning streak in rock history, the Stones slipped into decadence and rock star excess with Goats Head Soup ... This is where the Stones' image began to eclipse their accomplishments, as Mick ascended to jet-setting celebrity and Keith slowly sunk deeper into addiction, and it's possible hearing them moving in both directions on Goats Head Soup, at times in the same song."[32] Reviewing the 2009 reissue, Michael Hann of The Guardian gave the album a highly favourable review, stating that those who dismiss it in comparison to its predecessors are "missing a treat". Hann wrote that the album foreshadowed the band's sound of the late 1970s and 1980s, and that "Angie" and "Coming Down Again" are among the best songs in their entire catalogue.[38] In 2015, Michael Gallucci of Ultimate Classic Rock felt that despite the inclusion of good tracks such as "Dancing with Mr. D", "Doo Doo Doo Doo Doo (Heartbreaker)" and "Star Star", the album represents the end of the Stones' "classic era".[39]

Reviewing the 2020 reissue, Gallucci commented that although the Stones did not "bottom out" until 1976's Black and Blue, Goats Head Soup is where their decline began. Although he found that the new mix enhances the album, he stated: "It's still sludgy, it still drags at points and it still occasionally comes off as lazy coasting by a band that felt it didn't have to try anymore now that it was on top of the world."[40] David Browne of Rolling Stone awards it 4 stars and writes that the original album failed to live up to its predecessor and "made it appear as if the Stones had gone overnight from the coolest, possibly greatest, rock and roll band to something less than that – just another big, commercial rock act".[41] He felt that even throughout the new mixes, the band sounds "burnt out, regretful, melancholic, [and] even at times vulnerable". He concluded that with the reissue, Goats Head Soup "now feels historic".[41] Jem Aswad of Variety similarly felt that the 1973 album ended their "near-peerless streak" that began with Beggars Banquet.[42] Although Aswad deems Goats Head Soup a "good album", he felt the reissue's outtakes were "forgettable" and the unreleased live album was worth it alone.[42] Conversely, Alan Light of Esquire called Goats Head Soup a bad album, saying that it ended "one of the greatest runs in rock & roll history".[43] He cited the ballads as its highlights and commented: "It marked the moment the band stopped simply being the Rolling Stones and started playing the part of 'The Stones'."[43] Michael Elliott of PopMatters agreed, writing that Goats Head Soup ended "the greatest four-album run in rock 'n' roll". He states that the album is where "their ascension" began to wane and "the idea of the Rolling Stones became just as important as the band itself". Elliott nevertheless praised songs such as "Angie" and "Doo Doo Doo Doo Doo (Heartbreaker)", as well as the unreleased tracks, writing that "Criss Cross" would "easily" have been a highlight of the original record.[44]

Reflecting years later, David Cavanagh of Uncut noted that reactions to the album – and "Angie" as its lead single – from fans and critics were "characterised by disappointment", reasoning this was especially due to the momentum the band had built from Beggars Banquet (1968) to Exile on Main St. (1972). He also added that the qualms revolved around "the downbeat pensiveness of an album that sometimes seems lost in a fug of regret", as well as other apparent anti-climactic features, such as its "more mainstream, keyboard-heavy production", "low quota of rockers" and "[a] not so-obviously assertive Keith".[45]

Reissues

[edit]

In 1994 Goats Head Soup was remastered and reissued by Virgin Records, and again in 2009 by Universal Music. The 1994 remaster was initially released in a Collector's Edition CD, which replicated in miniature many elements of the original gatefold album packaging. The first pressing of the 2009 remaster contains a censored version of "Star Star" that was on the original US vinyl release, but not on the 1994 Virgin CD; later pressings contain the uncensored version.

The album was reissued once more in 2011 by Universal Music Enterprises in a Japanese-only SHM-SACD version, which includes the uncensored version of "Star Star" with a previously unreleased fadeout.

On 4 September 2020, the album was reissued by Polydor Records, with a new mix by Giles Martin. Deluxe editions of the album featured never-before-released outtakes such as "Criss Cross", released as a music video on 9 July 2020, "Scarlet", featuring Jimmy Page, released as a music video on 8 August 2020, and "All the Rage". The album re-entered the UK albums chart at number one, 47 years after it first reached the top of the chart in September 1973.[46]

Track listing

[edit]

1973 original release

[edit]

All tracks are written by Mick Jagger and Keith Richards.

Side one
No.TitleLength
1."Dancing with Mr. D."4:53
2."100 Years Ago"3:59
3."Coming Down Again"5:54
4."Doo Doo Doo Doo Doo (Heartbreaker)"3:26
5."Angie"4:33
Side two
No.TitleLength
6."Silver Train"4:27
7."Hide Your Love"4:12
8."Winter"5:30
9."Can You Hear the Music"5:31
10."Star Star"4:25
Total length:46:56

2020 Deluxe Edition

[edit]
Disc two - Rarities & Alternative Mixes
No.TitleWriter(s)Length
1."Scarlet" (with Jimmy Page) 3:44
2."All the Rage" 4:32
3."Criss Cross"Jagger/Richards/Mick Taylor4:11
4."100 Years Ago" (Piano Demo) 2:43
5."Dancing with Mr D." (instrumental) 3:31
6."Heartbreaker" (instrumental) 3:18
7."Hide Your Love" (alternative mix) 5:18
8."Dancing with Mr D." (Glyn Johns 1973 mix) 4:34
9."Doo Doo Doo Doo Doo (Heartbreaker)" (Glyn Johns 1973 mix) 3:26
10."Silver Train" (Glyn Johns 1973 mix) 4:31
Total length:39:58
Disc three - Brussels Affair
No.TitleLength
1."Brown Sugar" (Live at Forest National Arena, Brussels, 17/10/73, first show)3:54
2."Gimme Shelter" (Live at Forest National Arena, Brussels, 17/10/73, second show)5:31
3."Happy" (Live at Forest National Arena, Brussels, 17/10/73, second show)3:13
4."Tumbling Dice" (Live at Forest National Arena, Brussels, 17/10/73, second show)5:02
5."Star Star" (Live at Forest National Arena, Brussels, 17/10/73, second show)4:15
6."Dancing with Mr. D." (Live at Forest National Arena, Brussels, 17/10/73, second show)4:36
7."Doo Doo Doo Doo Doo (Heartbreaker)" (Live at Forest National Arena, Brussels, 17/10/73, second show)5:01
8."Angie" (Live at Forest National Arena, Brussels, 17/10/73, second show)5:13
9."You Can't Always Get What You Want" (Live at Forest National Arena, Brussels, 17/10/73, second show)10:57
10."Midnight Rambler" (Live at Forest National Arena, Brussels, 17/10/73, first show)12:49
11."Honky Tonk Women" (Live at Forest National Arena, Brussels, 17/10/73, second show)3:10
12."All Down the Line" (Live at Forest National Arena, Brussels, 17/10/73, second show, guitar solo taken from the first show)4:19
13."Rip This Joint" (Live at Forest National Arena, Brussels, 17/10/73, second show)2:24
14."Jumpin' Jack Flash" (Live at Forest National Arena, Brussels, 17/10/73, second show)3:26
15."Street Fighting Man" (Live at Forest National Arena, Brussels, 17/10/73, second show)5:13
Total length:79:33

Personnel

[edit]
  • Track numbers noted in parentheses below are based on the CD track numbering.

The Rolling Stones

  • Mick Jagger – lead vocals (all but 3), backing vocals (1, 3, 4, 6, 9, 10), electric rhythm guitar (6, 8), harmonica (6), piano (7)
  • Keith Richards – electric guitar & backing vocals (1, 3, 4, 6, 9, 10), bass guitar (2, 4, 6, 7), acoustic guitar (5), lead vocals (3)
  • Mick Taylor – electric guitar (1, 2, 4, 6–10), backing vocals (1, 4, 6), bass guitar (1, 3, 9), acoustic guitar (5)
  • Bill Wyman – bass guitar (5, 8, 10)
  • Charlie Watts – drums (all tracks)

Additional personnel

Technical

Charts

[edit]

Certifications

[edit]
Certifications for Goats Head Soup
Region Certification Certified units/sales
Canada (Music Canada)[79] Platinum 100,000^
Denmark (IFPI Danmark)[80] Platinum 10,000[80]
France (SNEP)[81] Gold 100,000*
Germany (BVMI)[82] Gold 100,000[82]
Netherlands (NVPI)[83] Gold 25,000[83]
Sweden (GLF)[84] Gold 25,000[84]
United Kingdom (BPI)[85] Gold 100,000^
United States (RIAA)[86] 3× Platinum 3,000,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Goats Head Soup

View on Grokipedia
from Grokipedia
is the eleventh studio album by the English rock band the Rolling Stones, released on 31 August 1973 by Rolling Stones Records. Produced by Jimmy Miller in his final studio collaboration with the group, the album was recorded during sessions spanning November 1972 to July 1973 at Dynamic Sound Studios in Kingston, Jamaica, as well as Village Recorders in Los Angeles and Olympic and Island Studios in London. It topped the Billboard 200 chart in the United States for four weeks— the band's third number-one album there— and reached number one in the United Kingdom for their fifth consecutive chart-topping release, underscoring the group's enduring commercial dominance amid internal exhaustion following the Exile on Main Street era. Key singles "Angie", a melancholic ballad that hit number one on the Billboard Hot 100, and "Doo Doo Doo Doo Doo (Heartbreaker)", which peaked in the Top 20, propelled its success, while contributions from guests like Billy Preston added keyboard textures to tracks such as "Coming Down Again". Critically, the album elicited mixed responses upon release, with some reviewers decrying it as a polished but less raw successor to prior works, signaling an perceived onset of creative plateau; nonetheless, its introspective mood and unadorned live feel have earned retrospective reevaluation as a deliberate shift reflecting the band's transitional fatigue. Notable for controversy, the closing track "Star Star"—originally "Starfucker"—faced BBC bans over its sexually explicit lyrics targeting celebrity culture, encapsulating the Stones' provocative edge even as their sound refined.

Background

Post-Exile Fatigue and Band Dynamics

Following the release of Exile on Main St. on May 12, 1972, the Rolling Stones grappled with profound physical and creative exhaustion stemming from the album's chaotic production at Keith Richards' Villa Nellcôte in southern France, where heroin use, constant intrusions by musicians and hangers-on, and French police raids disrupted proceedings over six months in 1971. This nomadic intensity, compounded by the band's status as British tax exiles since April 1971—prompted by steep UK investment surcharges and income taxes exceeding 80%—left members depleted and scattered, with Richards later recalling the group as "all pretty whacked out" after the ensuing 1972 tour. The tour, spanning June to August 1972 across 30+ U.S. and Canadian dates, amplified burnout, as evidenced by onstage sloppiness and drummer Charlie Watts appearing visibly fatigued amid relentless travel and drug-fueled excess. Internal band dynamics strained further due to diverging priorities between and . Jagger, increasingly focused on professional structure and business acumen amid his lifestyle, sought a shift away from the improvisational mayhem of , expressing a desire to "do something different" with more deliberate songcraft. In contrast, Richards' deepening dependency—ongoing since the sessions and hindering reliable participation—fostered unreliability, with him admitting to being "pretty out of it most of the time," exacerbating difficulties in assembling the band cohesively. Jagger and Richards acknowledged creative friction, with Jagger noting they "were not always on the same page," reflecting broader cohesion issues as Jagger pursued greater control while Richards' struggles prioritized personal survival over group momentum. These pressures manifested empirically in the band's post-tour fragmentation, where legal entanglements—like Richards' heroin possession arrest—and tax-driven relocations underscored a need for renewal, setting the stage for a less anarchic creative pivot without resolving underlying rifts.

Selection of Jamaica for Recording

In November 1972, the Rolling Stones relocated to , to commence recording sessions at Dynamic Sounds Studios, following the exhaustive production of in and their U.S. tour earlier that year. As tax exiles who had departed the in 1971 to evade steep income taxes—residing briefly in before Exile's completion—the band required an overseas location to preserve non-resident status and minimize fiscal liabilities. , a former British colony with relatively permissive entry policies at the time, facilitated this strategy without the residency risks of returning to . Keith Richards' escalating drug issues further constrained options, as his legal entanglements—including prior arrests and ongoing scrutiny—complicated securing U.S. visas for prolonged stays, despite the band's successful 1972 American tour. Richards later reflected that stood out as "one of the few places that would ," underscoring the practical barriers to North American or continental European venues. This decision aligned with the band's aim to escape the interpersonal strains and logistical chaos of prior sessions, seeking a geographically distant site to foster renewed creative focus. Dynamic Sounds, established and operated by prominent Jamaican producer Byron Lee, appealed for its state-of-the-art equipment and emerging status as a regional recording hub, providing acoustic isolation from London's media glare and the Riviera's hedonistic excesses. The studio's location in Kingston offered logistical advantages, including lower operational costs compared to major Western facilities and a tropical setting intended to counteract post-Exile fatigue by immersing the group in an unfamiliar cultural milieu, though the island's infrastructure limitations—such as intermittent power supply—were not fully anticipated at the selection stage. This choice prioritized pragmatic relocation over artistic romanticism, prioritizing environments conducive to streamlined production amid the band's nomadic fiscal imperatives.

Recording

Sessions at Dynamic Sounds and Island Studios

The primary recording sessions for Goats Head Soup occurred at Dynamic Sounds Studios in , spanning November 1972 to early 1973, marking the band's first major project in the country following their tax exile from the . These sessions captured basic tracks for much of the album, leveraging the studio's facilities amid the humid tropical environment, which influenced the proceedings' pace and atmosphere. Initial work focused on foundational recordings, with tracks like "Angie" and "Dancing with Mr. D" tracked early in the process; "Dancing with Mr. D" featured live vocals overlaid on pre-recorded backing, while "Angie" developed as a ballad during this phase. Documented dates include November 25–30, 1972, and December 6–13, 1972, during which the core band— Mick Jagger, Keith Richards, Mick Taylor, Bill Wyman, and Charlie Watts—laid down rhythms and initial performances under producer Jimmy Miller. Subsequent overdubs and mixing took place at Island Recording Studios in from May 23 to June 20, 1973, refining the Jamaican tapes with additional layers, including guest contributions, to complete the album's sound. This two-phase approach—basic tracking in Jamaica followed by polish—reflected logistical necessities, yielding a production that emphasized straightforward rock elements over the multi-layered complexity of prior efforts like Exile on Main St.

Production Challenges and Jimmy Miller's Role

, who had produced ' albums from (1968) through Exile on Main Street (1972), returned for Goats Head Soup but faced intensified strains from the band's escalating drug use and his own addiction issues, prompting him to assume tighter control over the sessions to compensate for diminished band cohesion. Sessions at Dynamic Sounds Studios in , from November to December 1972, were marked by acceptance of substandard basic tracks due to pervasive intoxication, with engineer noting that participants were "a little higher than normal," leading Miller to push for refinements in overdubs conducted later in and . This approach contrasted with the looser, more improvisational dynamic of prior collaborations, as Richards later reflected that Miller "went in a lion and out a lamb" from the exhaustion of managing the chaos. A primary challenge stemmed from ' deepening heroin addiction and related legal entanglements, which rendered him unreliable and delayed track completion; for instance, a French for narcotics possession forced Richards to flee to mid-process, while subsequent charges in June 1973 for and firearms further disrupted momentum. Miller's own drug problems exacerbated these hurdles, contributing to extended timelines across multiple studios, including Olympic in for final mixing in July 1973. These factors necessitated greater reliance on session musicians to fill gaps in band performance. To stabilize the recordings, incorporated pianist , whose contributions—such as the fluid, string-like piano interludes on "Angie"—provided structural reliability and enhanced melodic clarity amid the band's inconsistencies. This intervention, alongside 's emphasis on polished layering during overdubs, yielded a cleaner, more restrained sound distinct from on Main Street's raw murkiness, as the Jamaica sessions' professional studio environment and subsequent refinements prioritized definition over the prior album's dense improvisation. The result was an album where instrumental separation and subdued dynamics reflected these production adaptations, verifiable through the audible contrast in tracks like "Doo Doo Doo Doo Doo (Heartbreaker)" versus 's cluttered textures.

Composition

Songwriting Contributions from Jagger and Richards

All ten tracks on Goats Head Soup are credited to the songwriting partnership of Mick Jagger and Keith Richards, continuing the duo's standard practice since the mid-1960s. This collaborative framework masked evolving dynamics, with Jagger assuming a more prominent role in lyric-writing following the exhaustive sessions for Exile on Main St., where Richards' heroin addiction had disrupted contributions. Jagger's lyrical input shaped introspective ballads like "Angie," a No. 1 hit reflecting themes of relational strain and emotional vulnerability, drawn from his personal experiences amid the band's post-exile fatigue. Richards, despite personal struggles including a 1973 drug bust and withdrawal periods, provided core musical elements such as the gritty riff anchoring "Doo Doo Doo Doo Doo (Heartbreaker)," a track critiquing urban violence and through its raw, horn-driven . His most direct authorship appears in "Coming Down Again," which he described as predominantly his own composition, inspired by heroin's haze and guilt over relational fallout, including his involvement with during Brian ' decline; Richards later reflected that the drug fueled such vulnerable writing, stating he "wouldn't have written 'Coming Down Again' without it." The album's songcraft thus balanced Jagger's narrative drive with Richards' riff-centric instincts, yielding synergy amid tensions from Richards' legal troubles and Jagger's growing focus on performance and business affairs, yet without external co-writes from bandmates like despite his studio input. This period marked a transitional phase, where joint credits belied Jagger's heavier hand in refining lyrics for commercial appeal post-Exile.

Musical Style Shifts and Instrumentation

Goats Head Soup represents a sonic pivot from the dense, raw chaos of its predecessor Exile on Main Street, adopting a more polished production that emphasized structured arrangements over unfiltered energy. This transition involved cleaner mixes and layered textures, moving away from the gritty, multi-tracked disorder of Exile's basement sessions toward studio refinement that prioritized melodic clarity and accessibility. The album's average tempo of 100 beats per minute, with a range spanning slower ballads at 68 BPM to up-tempo tracks at 147 BPM, contrasts with Exile's broader variance (77–198 BPM) and higher starting energy, enabling more deliberate phrasing in songs like the introspective "Winter." Influences from and R&B deepened this evolution, infusing tracks with smoother grooves and harmonic sophistication; for instance, "Doo Doo Doo Doo Doo (Heartbreaker)" incorporates urban R&B rhythms through its bass-driven pulse and horn-like guitar fills, blending rock foundations with Motown-esque swing. Similarly, "" draws on vaudeville-tinged via flourishes and string accents, adding orchestral depth absent in the prior album's bar-band rawness. These elements reflect a causal to post-exile dynamics, where prompted restraint, yielding enhanced melodic contours—richer harmonies and sustained notes in ballads like "Coming Down Again"—at the expense of visceral drive. Instrumentation shifted toward augmentation for accessibility, with strings and keyboards providing melodic lifts that tempered guitar-dominated aggression; this yielded prosody in phrasing but diluted the primal edge, as evidenced by the album's focus on mid-tempo accessibility over 's frenetic peaks. Such changes prioritized empirical refinements like tempo moderation for broader playback viability, substantiating a pragmatic evolution rather than unmotivated dilution.

Release

Launch Details and Marketing

Goats Head Soup was released on August 31, 1973, by , marking the band's first album under their own imprint following the establishment of the label in 1971. The rollout featured the "Angie," issued on August 27, 1973, which propelled initial promotion through radio airplay and peaked at No. 1 on the on October 20, 1973, while reaching No. 5 on the UK Singles Chart. A follow-up single, "Doo Doo Doo Doo Doo (Heartbreaker)," was released in December 1973 with "Dancing with Mr. D." as the B-side, further sustaining radio promotion amid the album's momentum. Marketing efforts emphasized the album's Jamaican recording origins to evoke an exotic, voodoo-inspired allure tied to the title's reference to a traditional dish, as promoted in 1973 posters and advertisements. The campaign coincided with the launch of the band's 1973 European Tour on September 1 in , , integrating live performances of new material to drive album sales across markets. The global release achieved swift commercial traction, debuting at No. 1 on the by September 22, 1973, for two weeks, and topping the in the US by early October. This immediate chart dominance, fueled by single success and tour synergy, underscored the strategic alignment of recording narrative, radio push, and touring infrastructure.

Album Artwork Design

The artwork for Goats Head Soup was created by photographer , who captured conceptual portraits of the band members in 1973. These images were stylized to depict the with superimposed goat heads, directly referencing the album's title, which draws from a traditional Jamaican dish featuring a goat's head simmered with and spices. The surreal, psychedelic treatment of the figures—achieved through photographic manipulation—evoked a mystical quality, contrasting the band's established gritty rock persona and aligning with the album's post-exile, introspective tone recorded in . An initial concept featuring a literal stuffed goat's head in a steaming pot of soup was rejected by the as unsuitable for the cover, though it appeared as an insert in some editions. The inner sleeve included printed band portraits and additional artwork elements, such as the goat's head soup imagery, within a gatefold design. Early pressings also contained a poster derived from Bailey's session photographs. Minor variations occurred in printing across regions, including obi strips and inserts in Japanese releases, but no significant controversies arose from the design itself. The abstraction of the goat-headed figures contributed to perceptions of the album as a transitional work, blending exotic symbolism with the band's evolving image amid fatigue from their early 1970s touring and legal pressures.

Controversies

Censorship and Explicit Lyrics in "Star Star"

' track "Star Star," the closing song on Goats Head Soup, was originally titled "Starfucker," a name changed to "Star Star" at the insistence of executive , who distributed the band's label and sought to mitigate potential backlash amid U.S. anti-pornography legislation concerns. Despite the title alteration, the chorus repeatedly uses the unaltered phrase "starfucker" over a dozen times, alongside explicit verses detailing sexual encounters, such as "She's a starfucker, starfucker" and references to with celebrities like "giving head to ," for which the band reportedly secured the actor's permission to avoid litigation. The lyrics employ crude to lampoon Hollywood celebrity culture and promiscuity, with lines like "Down in Hollywood she played the star's star game / Hopin' to get a line on some " interpreted by some observers as allusions to singer , who had relocated there amid her marriage to and recent fame from hits like "." This satirical excess aligned with the era's rock ethos of unfiltered hedonism, though Ertegun initially pushed to exclude the track entirely from the album. later dismissed censorship efforts against the song as absurd, reflecting the band's resistance to sanitizing their provocative material. On September 10, , the banned "Star Star" from radio airplay due to its profane chorus, a decision Richards deemed ridiculous given the song's intent as rock provocation rather than literal endorsement. The ban had negligible commercial effect, as Goats Head Soup topped charts in both the U.S. and U.K. shortly after its August 31 release. In live settings, such as the European tour and U.S. trek, the Stones performed it with minimal alterations to , often amplifying the spectacle—e.g., deploying a giant inflatable onstage during the latter—to underscore its defiant tone, though some later remasters censored the chorus for broader distribution.

Perceptions of Creative Decline

Some rock critics, including in his 1973 Creem review, perceived Goats Head Soup as a betrayal of the band's earlier raw energy, labeling it overpolished and emblematic of commercial sellout tendencies following the chaotic intensity of Exile on Main St.. This view positioned the album as the onset of creative fatigue, with detractors arguing its studio refinement diluted the gritty authenticity that defined prior works amid the band's post-1960s exhaustion from relentless touring and recording. However, such perceptions often reflect a critic preference for unvarnished over the Stones' demonstrated adaptability to more structured production, as evidenced by the album's explorations like the percussive, jam-oriented "Hide Your Love," which incorporated congas and piano-driven rhythms hinting at emerging influences beyond blues-rock. Fan assessments, including forum polls and rankings from dedicated communities, frequently elevate Goats Head Soup above contemporaneous releases like , with over two-thirds favoring it in direct comparisons and placing it in personal top tiers for its melodic ballads and hooks. The decline narrative, while acknowledging real band weariness after 's grueling sessions, overlooks verifiable shifts toward versatility—such as Jagger's evolving songcraft—that sustained the group's output without abrupt collapse, as later reassessments during the 2020 deluxe reissue highlight its role in bridging raw eras to polished longevity.

Reception

Contemporary Critical Views

In 1973, Goats Head Soup elicited mixed critical responses, with reviewers noting a shift toward more polished, soul-influenced arrangements compared to the raw intensity of prior albums like Exile on Main St.. Lenny Kaye, writing for Rolling Stone on August 31, praised the album's "soulful maturity" in tracks such as "Angie" and "Dancing with Mr. D," attributing this to new emphasis on Mick Jagger's vocal delivery and contemporary production styles, yet critiqued it for containing "too many secondary songs" that prevented it from ranking among the band's ultimate works, evoking an overall mood of "weary acceptance." Nick Kent's review in New Musical Express on September 8 highlighted "Angie" as a standout for its emotional depth, but faulted the album's pacing and perceived lack of cohesion, reflecting broader sentiments of post-1969 cynicism following events like Altamont that had eroded the band's earlier edge. Some outlets, such as , welcomed the increased accessibility and melodic focus as a mature evolution, while others decried it as a dilution of the Stones' gritty persona, contributing to average contemporary ratings around 3 out of 5 stars across publications. This divergence underscored debates over whether the album's smoother sound represented artistic growth or creative fatigue amid the band's exhaustive touring schedule, with no consensus on its place in the Stones' canon at the time.

Retrospective Evaluations and Reassessments

In reassessments from the 2020s, particularly around the album's 50th anniversary in 2023, Goats Head Soup has been reevaluated as an underrated entry in The Rolling Stones' discography, with critics highlighting its raw honesty born from the band's post-tour exhaustion following the grueling Exile on Main St. sessions and 1972 world tour. A Grammy.com analysis emphasized that this fatigue infused the record with a distinctive mood of weary introspection, countering narratives of creative decline by pointing to tracks like "Coming Down Again" as evidence of unvarnished emotional depth rather than dilution. Similarly, Pitchfork's review of the 2020 edition praised the standout songs for their exceptional quality, arguing they elevate the album to a unique position in the band's catalog, distinct from both prior rawness and later polish. These reevaluations often challenge early critical biases favoring unpolished grit over studio refinement, attributing initial dismissals to inflated expectations after and , where the Jamaica sessions' logistical strains—such as dynamic range limitations from power fluctuations—produced a cleaner sound misinterpreted as commercial concession. Empirical fan metrics, including sustained rankings on aggregate sites like Best Ever Albums (1635th overall as of recent data), reflect enduring appeal beyond contemporaneous reviews, with "Angie" maintaining cultural longevity through frequent covers by artists like and its placement in Stones compilations. However, balanced analyses acknowledge weaknesses, such as filler tracks like "100 Years from Now," which dilute cohesion compared to the album's peaks, though recent listens via remixed clarity have spotlighted instrumental nuances previously obscured. This shift in perspective underscores causal factors like recording context over subjective decline tropes, with music outlets like framing Goats Head Soup as a gritty pivot into the ' excesses, valuing its transitional realism amid the band's evolving excesses.

Commercial Performance

Chart Achievements

Goats Head Soup was released on August 31, 1973, and quickly ascended international charts. It debuted at number one on the , marking the Rolling Stones' eighth chart-topping album there. In the United States, the album entered the on September 29, 1973, and reached number one the following month, maintaining the top position for four consecutive weeks beginning October 13. The record also peaked at number one in and during its initial run. The lead single "Angie," released in August 1973, contributed to the album's momentum by topping the on October 20, 1973, for one week. It further achieved five-week runs at number one in both and . In the UK, "Angie" peaked at number five on the Singles Chart.
CountryChartPeak PositionWeeks at No. 1
12
14
1Unspecified
RPM 100 Albums1Unspecified
For "Angie":
CountryChartPeak PositionWeeks at No. 1
11
RPM 100 Singles15
15
UK Singles Chart50

Sales Certifications and Long-Term Metrics

Goats Head Soup has accumulated substantial long-term sales, with physical album shipments exceeding 6.35 million units worldwide as of comprehensive data analyses through the . Including digital downloads and streaming equivalents—calculated at 1,500 streams per album unit—the album's total equivalent album sales (EAS) stand at approximately 7.97 million units, reflecting sustained consumer engagement decades after its release. These figures underscore market endurance, as hit singles such as "Angie" generated ongoing revenue through radio play, compilations, and catalog consumption, outpacing full-album streams in bolstering metrics. Independent estimates place lifetime worldwide sales closer to 12 million copies when incorporating varied regional reporting. The 2020 deluxe reissue, with remixed tracks, unreleased outtakes like "Criss Cross" and "Scarlet," and high-resolution audio options, catalyzed a streaming uptick, adding hundreds of thousands of EAS amid platform expansions. This resurgence aligns with causal drivers of longevity: individual tracks' viral rediscovery and playlist inclusion, rather than holistic album appreciation, propelled post-2000 gains, countering narratives of diminished appeal by evidencing robust demand in adjusted, inflation-neutral terms against select prior releases. For instance, its EAS surpass those of some contemporaries when normalized for era-specific market sizes.

Track Listing

1973 Original Release

The 1973 original release of Goats Head Soup was distributed primarily on vinyl LP in a sleeve and formats. Side one
  1. "Dancing with Mr. D" – 4:52
  2. "100 Years Ago" – 4:00
  3. "Coming Down Again" – 5:55
  4. "Doo Doo Doo Doo Doo (Heartbreaker)" – 3:27
  5. "Angie" – 4:31
Side two
  1. "Silver Train" – 4:25
  2. "Hide Your Love" – 4:10
  3. "Winter" – 5:30
  4. "Can You Hear the Music" – 5:32
  5. "Star Star" – 4:25

2020 Deluxe Edition Additions

The 2020 reissue of Goats Head Soup, released on September 4, 2020, introduced a deluxe edition comprising a newly ed stereo version of the original album, overseen by and engineer , alongside a bonus disc of archival material. This draws from the multitrack tapes to refine the sonic balance while preserving the era's production characteristics. The bonus disc adds seven tracks, including three previously unreleased studio outtakes: "Criss Cross", "All the Rage", and "Scarlet", with the latter incorporating guitar overdubs by Jimmy Page recorded during a July 1974 session at Ronnie Wood's house. It also features an alternate early version of "All Down the Line" from November 1972 sessions at Dynamic Sounds in Kingston, Jamaica, plus four live recordings from the band's July 1973 European tour, such as "Through the Lonely Nights" (Brussels, October 1973) and "Silver Train" (Brussels, October 1973). These additions, sourced from the album's 1972–1973 recording period across Jamaica, Los Angeles, and London, provide insight into the creative process without overlapping the core tracklist. The super deluxe edition extends to three CDs and one Blu-ray, incorporating further rarities like additional alternate mixes and session demos, alongside high-resolution stereo (96 kHz/24-bit) and presentations of the remixed album on the Blu-ray. This format totals 35 tracks, bolstering archival depth with material from contemporaneous sessions, though it omits any verified Lisbon-specific demos such as "Wheel of Fortune".

Personnel

Core Band Members

The core band members for Goats Head Soup comprised ' standard 1969–1974 lineup: on lead vocals and rhythm guitar; on lead and rhythm guitars, backing vocals, and occasional bass; on lead guitar; on bass guitar; and on drums. This group formed the rhythmic and melodic foundation across the album's tracks, with Jagger and Richards co-writing all original songs under their "Glimmer Twins" pseudonym. Mick Taylor's contributions included prominent guitar work, such as the slide guitar solo on "Star Star," adding a raw edge to the track's boogie rhythm. Bill Wyman's bass appearances were limited to three tracks—"Coming Down Again," "Doo Doo Doo Doo Doo (Heartbreaker)," and "Silver Train"—with Richards handling bass duties on several others amid Wyman's reduced involvement during sessions. Despite these variations, the quintet remained the album's credited core performers.

Guest Musicians and Technical Staff

The album featured guest keyboardists including Nicky Hopkins on piano for tracks such as "Dancing with Mr. D," "Can You Hear the Music?," "Winter," "Star Star," and "Coming Down Again"; Billy Preston on clavinet for "Doo Doo Doo Doo Doo (Heartbreaker)" and "Hip Shake," and piano on "Angie"; and Ian Stewart on piano for "Coming Down Again," "Doo Doo Doo Doo Doo (Heartbreaker)," and "Star Star." Saxophonist contributed tenor saxophone parts, notably on "Doo Doo Doo Doo Doo (Heartbreaker)," while provided flute and alto saxophone, and added trumpet arrangements. Percussionists included Rebop Kwaku Baako and Nicky "Bash" Pasquale alongside producer , who played maracas on "Can You Hear the Music?" and tambourine on other tracks. Technical staff encompassed producer , who oversaw sessions recorded primarily at Dynamic Sounds in , and Island Studios in from November 1972 to early 1973. Engineer handled chief engineering and mixing duties, assisted by Carlton Lee, Doug Bennett, and Howard Kilgour. Horn arrangements were by Jim Price, and string arrangements by Nicky Harrison for "Winter" and "Angie."

Legacy

Cultural Impact and Song Enduring Popularity

"Angie," the album's , has demonstrated enduring popularity through substantial digital streaming metrics, exceeding 384 million plays on as of October 2024. This figure underscores its appeal among contemporary audiences, outpacing many tracks from the band's earlier catalog despite the album's overall mixed critical reception as marking the end of their most dominant creative phase. The track "Star Star" (originally titled "Starfucker") has been recognized as an of rock excess, portraying the hedonistic of groupies and performers in explicit terms that reflected the era's unfiltered rock culture. Its raw depiction influenced perceptions of rock's underbelly, serving as a template for later exploring similar themes of seedy and misogynistic undertones in the . Songs from Goats Head Soup were integrated into the Rolling Stones' 1973 European tour setlists, with performances of "Star Star," "Dancing with Mr. D," and "Doo Doo Doo Doo Doo (Heartbreaker)" captured in live recordings that highlighted their stage viability. These inclusions helped establish select tracks as occasional live staples, though the album as a whole has not achieved the canonical status of predecessors like Exile on Main St., balancing hit-driven longevity against broader artistic critiques. The record's soul-infused elements, evident in tracks blending blues-rock with rhythmic grooves, contributed to hybrid styles in subsequent rock recordings.

Reissues, Remixes, and 50th Anniversary Perspectives

The album underwent digital remastering and by in 1994, applying enhanced audio processing to the original tapes for improved fidelity on format. Universal Music followed with another remastered edition in 2009, incorporating further refinements to and clarity. These efforts preserved the core sound while adapting it for digital playback, though they retained the original 1973 mix's characteristics. A major overhaul arrived with the 2020 deluxe edition, released on September 4, featuring a complete stereo remix by , which modernized the production by emphasizing bass, drums, and vocals for greater focus and separation. Reviewers noted the remix's subtlety in avoiding over-compression while enhancing overall breathability, effectively mitigating the original mix's denser, less defined elements from engineer . This resulted in heightened accessibility, allowing finer details in —such as Mick Taylor's guitar work—to emerge without altering the album's raw energy. Marking the 50th anniversary on August 31, 2023, retrospective analyses reframed Goats Head Soup as a pivotal transitional work, bridging the band's raw peak with more refined studio polish amid post-tour exhaustion. Publications highlighted its enduring strengths, including hits like "Angie" and tracks evoking urban grit, arguing that the album's perceived vulnerabilities—often critiqued as a decline from Exile on Main St.—instead yield a uniquely mood worth savoring. The 2020 remix further bolstered this view by amplifying the record's autumnal tone and sonic depth for renewed appreciation.

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  94. https://therollingstonesshop.com/products/goats-head-soup-super-deluxe-3-cd-blu-ray-box-set
  95. https://www.culturesonar.com/goats-head-soup-2020-a-tasty-reissue/
  96. https://www.amazon.com/Goats-Head-Soup-Rolling-Stones/dp/B000000W57
  97. https://www.discogs.com/release/1829587-The-Rolling-Stones-Goats-Head-Soup
  98. https://www.stereophile.com/content/january-2021-rockpop-record-reviews
  99. https://theartsdesk.com/new-music/rolling-stones-goats-head-soup-2020-old-time-decadence-revisited
  100. https://rockandrollglobe.com/stones/all-the-rage-the-rolling-stones-goats-head-soup-at-50/
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