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England's Newest Hitmakers
It's not the snappiest name for an album. The blatant cash-in on the ongoing value of novelty in the British Invasion of North America is laughably crass by today's creative and commercial standards.
But there's nothing blundering or ill-judged about the music on England's Newest Hitmakers. Instead, listeners get the genuine sound of white English boys playing black American music with as much authenticity as they can bring to this inherently artificial combination.
And it works. Of course it works, because there's nothing fake about the band's love for, and growing mastery of, the R'n'B idiom and the instruments on which it's played. England's Newest Hitmakers achieves its own authenticity - a new kind of music, as fresh and original in its transatlantic translation of black-blues as The Beatles' reinterpretation of white pop-rock had been on Please Please Me, their own seminal, game-changing debut.
Mick Jagger has repeatedly claimed that The Rolling Stones/England's Newest Hitmakers is his favourite album and it has been described (by NME stalwart Roy Car, for example) as the greatest debut album ever made. It is certainly one of the most important