Near the end of the exultant 鈥淪weet Sounds of Heaven,鈥� the penultimate track on The Rolling Stones鈥� terrific new album (yes, NEW), we hear what sounds like a vocal contest between two up-and-comers: one and one

鈥淥h yeah!鈥� they sing, with escalating urgency. 鈥淐ome on!鈥� Are they tussling here? Actually, Jagger has confirmed there were competitive juices flowing

To which we say, let the games continue! The competition is emblematic of the joyous energy that infuses the Stones鈥� first collection of original music in 18 years, out Friday. It鈥檚 their best new work in decades 鈥� tight, focused, full of heart and swagger.

This all feels like a rather major development for lifelong Stones fans. For so long, it seems, there鈥檚 been an unspoken contract between them and the band: You and we will come. You鈥檒l play the hits, maybe dust off a few surprises to keep it fresh. It鈥檚 enough, because, duh, you鈥檙e the Stones! Jagger will keep moving like, well, Jagger, technically age 80. a mere 79, will stay nimble and brilliant on guitar, along with the baby at 76. And we鈥檒l come until you stop 鈥� which you won鈥檛.

New music? That has not been part of the equation. (How well do you remember 2005鈥檚 鈥淎 Bigger Bang鈥�?)

But now, on the track 鈥淲hole Wide World,鈥� when Jagger sings, 鈥淎nd you think the party is over,鈥� it feels like the whole album is one big answer: Um, nope!

And maybe, just maybe, we have a hint of possibility of shaking up the arena set list. A key candidate would be the aforementioned, gospel-tinged 鈥淪weet Sounds of Heaven鈥� 鈥� Exhibit A of what鈥檚 fun about the album, starting with the fact that when you鈥檙e the Stones, you can invite anybody to your party and they鈥檒l show. Like Gaga and who joins the track on keyboards (鈥淧lay me something, Stevie,鈥� you鈥檒l hear). But the song also testifies to how vigorous Jagger鈥檚 voice remains.

Another party guest: doing piano duty on two tracks. In one, 鈥淕et Close,鈥� Jagger croons: 鈥淚 walk the city at midnight with the past strapped to my back.鈥� (Strapped, OK, but not constricting the blood flow.) The lyrics are not always this poetic, but when they are, it鈥檚 often a dialogue with the past. As when Richards sings in 鈥淭ell Me Straight,鈥� his poignant lead vocal outing: 鈥淚s my future all in the past? Just tell me straight.鈥�

In the furious 鈥淏ite My Head Off,鈥� the band鈥檚 guest is none other than their old friend 鈥� yeah, the same guy who called them a 鈥渂lues cover band鈥� recently, amusing and perhaps annoying them. Here he is, just a Beatle on bass. No biggie.

The late, great , who appears posthumously on two of the 12 tracks. On one, 鈥淟ive by the Sword,鈥� former bandmate joins on bass, making for an emotionally potent reunion. Steve Jordan, the successor Watts chose, takes the beloved drummer鈥檚 place on the rest of the album. Most tracks are penned by Jagger and Richards; they鈥檙e joined on three by pop producer Andrew Watt (known for work with and ), who clearly exhibits a golden touch with this whole project.

Is this the last new album? Likely not. But if it were, the final words would be 鈥渞olling stone,鈥� via a poignant cover, reminding us of the blues albums Mick was carrying that fateful day he connected with Keith at a train station.

鈥淪he said 鈥業 got a boy child coming 鈥� he鈥檚 gonna be a rolling stone,鈥欌�� the last line goes.

You think the party鈥檚 over? Ha.

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