# Reviewing the Rolling Stones



## Deleted member 56686 (Oct 13, 2019)

Finally, I’ve come around to reviewing the Beatles’ arch rivals, the Rolling Stones. While the Beatles originally generated somewhat of a clean cut image despite their longish hair, the Rolling Stones sported a dirty image that showed in their R&B output at the time. And that’s what separated the two most successful bands in rock history in a way. While the Beatles were stretching the limits, musically speaking, the Stones were belting out straightforward rock and roll which gave them the deserved nickname as the World’s Greatest Rock n Roll band.
So, I’ll be reviewing (hopefully) every studio song the Rolling Stones released from the beginning to today. This may take awhile since, unlike the Beatles, I’m going to have to relisten to a lot of the Stones’ music and, after Tattoo You, maybe hear Stones songs for the first time. Yeah, it’s that ambitious.  So this may not be a daily thing, especially later on, but I’m determined to complete this thing, then I’ll have to figure out who to review next.  :lol:

The first installment to come soon.


RATINGS FOR THE STUDIO ALBUMS

THE ROLLING STONES:    
ROLLING STONES NO.2     
OUT OF OUR HEADS: :neutral::neutral:
AFTERMATH:    
BETWEEN THE BUTTONS: :neutral::neutral:
THEIR SATANIC MAJESTIES REQUEST: :neutral::neutral: 1/2
BEGGAR'S BANQUET: :flower::flower::flower::flower::flower:
LET IT BLEED: :flower::flower::flower::flower::flower:
STICKY FINGERS:  1/2
EXILE ON MAIN STREET: 
	

	
	
		
		

		
		
	


	










  1/2
GOAT'S HEAD SOUP: :neutral::neutral: 1/2
IT'S ONLY ROCK N ROLL: 
BLACK AND BLUE: 
	

	
	
		
		

		
		
	


	









SOME GIRLS: 
	

	
	
		
		

		
		
	


	










 1/2
EMOTIONAL RESCUE: 
	

	
	
		
		

		
		
	


	









TATTOO YOU: 
	

	
	
		
		

		
		
	


	










 1/2
UNDERCOVER: 
	

	
	
		
		

		
		
	


	









DIRTY WORK:  1/2
STEEL WHEELS: 
	

	
	
		
		

		
		
	


	










 1/2
VOODOO LOUNGE: 
	

	
	
		
		

		
		
	


	










  1/2
BRIDGES TO BABYLON: :neutral::neutral: 1/2
A BIGGER BANG: 
	

	
	
		
		

		
		
	


	












BLUE AND LONESOME:


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## Deleted member 56686 (Oct 19, 2019)

*IN THE BEGINNING 1961-1962*








Thanks to the Rolling Stones Chronicle web page for reference

http://www.timeisonourside.com/



The Rolling Stones story really starts in 1949 when Mick Jagger and Keith Richards meet and become childhood friends. It would last for three years or so when Keith’s family move to a tougher part of Dartford.  Meanwhile all five future Stones would find various interests in music by the mid 1950s.  Independently of each other, Charlie Watts will take up the drums while Jagger becomes friends with Dick Taylor, an important figure in the Rolling Stones’ formation. Meanwhile, Bill Wyman, in the  RAF forms a skiffle group and Brian Jones is learning a variety of different instruments and develops an interest in jazz.  Finally, Keith Richards would take up the guitar in late 1958.

So by 1960, the five future Rolling Stones had developed an interest in blues (Jagger and Richards), jazz (Jones and Watts) or straight out rock and roll (Wyman who, by the end of 1960, had formed the Cliftons). Speaking of Bill Wyman, he switched to bass with the Cliftons in 1961.

The story of the Rolling Stones takes a critical turn when Mick Jagger reunites with Keith Richards and they discover their shared love of blues. Jagger  introduces Richards to Dick Taylor and, with Bob Beckwith, form Little Boy Blue and the Blue Boys. Brian Jones, in the meantime, gets connected with Alexis Korner and his Blues Incorporated by early 1962. Coincidentally, Charlie Watts joins Blues Incorporated and it is at one their shows where he meets Brian Jones. They begin playing together when they meet Jagger and Richards, again at a Blues Incorporated show. Now four members of the still future Stones are playing off and on with Blues Incorporated, honing their craft. Brian Jones adds Ian Stewart and the beginnings of what will become the Rolling Stones are formed.

So that leaves the question of where Bill Wyman is in all of this. Well,  The Clifton’s drummer answers an ad to join this new band, still called Little Boy Blue and the Blue Boys, which also includes Dick Taylor. It was through him that Bill Wyman would join the band which, by then, will have been christened the Rolling Stones.

But before that, Little Boy Blue and the Blue Boys decide on a name change. And yes, they become the Rolling Stones. At this point, the summer of 1962, they are a straight out blues band. This works for a few months when Dick Taylor leaves, leaving the band without a bass player. Taylor, incidentally, will go on to form the Pretty Things.  And by the end of 1962, Charlie Watts would leave Blues Incorporated, thus making him available to the Rolling Stones who were also looking for a permanent drummer (Mick Avory, who would later play with the Kinks, was one of the drummers that didn’t work out as well as the Cliftons’ ex-drummer).

So in the backdrop of all that, we can review, at least in part, a couple periods in 1962 that involved Jagger, Richards, Jones, Stewart, and Taylor just before he left plus whoever they could get to play drums.







[h=2]Early recordings at Dick Taylor’s house[/h] 
This is rather incomplete to be certain but you can hear there is a bit of polish already. It’s obvious the Rolling Stones have practiced a bit already. There doesn’t seem to be a drummer until Johnny B Goode. Essentially, they sound like a high school garage band at this point and you can’t really gauge the greatness that will soon be thrust upon them, plus don’t forget, they’re missing Watts and Wyman here.  The best of these tracks appears to be Go On To School, the Jimmy Reed cover.



[h=2]Oct 1962 demos[/h] 

(Close Together, Soon Forgotten, You Can’t Judge a Book By Its Cover)

The Rolling Stones paid money to enter a studio for the first time at Curly Clayton’s studio. They recorded three songs but apparently all I could find on YouTube was a scratchy acetate of Bo Diddley’s You Can’t Judge a Book By Its Cover. Pity because the song sounds pretty good. I can only imagine the treatment they would have given Muddy Waters, who they worshipped, and Jimmy Reed who, of course, they already had covered and quite well.  Of course they will cover Muddy Waters.

But for now, anything can happen in the future. By now, Bill Wyman has filled in at bass for the Stones though he isn’t a fully fledged member yet, nor is Charlie Watts, who the Stones think is way out of their league and will cost too much despite a mutual affection for each other. But surprises are on the horizon and, with the next installment, we will be reviewing the first bonafide Rolling Stones singles.

So stay tuned.


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## Deleted member 56686 (Oct 20, 2019)

*1963.*








In early 1963, Bill Wyman and Charlie Watts became permanent members of the Rolling Stones. They would also sign with young impresario Andrew Loog Oldham as their manager. He would convince the Stones to dump Ian Stewart and make the band a five piece. Surprisingly, Stewart, despite his  R&B background, was agreeable and the Stones, who didn’t want Stewart out of the band to begin with, kept him on as their road manager and occasional keyboardist, a role he would keep until his death in 1985. In the meantime, the Rolling Stones became a hot attraction in the London R&B scene by early 1963. They were fired from the Marquee Club for asking for more money. It didn’t matter, because Dick Rowe of Decca Records, the man who infamously turned down the Beatles, would not make the same mistake twice. He signed the Rolling Stones and they would record their first singles this year.

So the Rolling Stones were on their way. Oldham engineered a meeting with John Lennon and Paul McCartney of the now popular Beatles. They gave them I Wanna Be Your Man, which would become a top twenty hit in England. By the end of the year, Mick Jagger and Keith Richards would be writing together and they would soon be recording originals with their R&B and blues covers.  They would also be enjoying the first of many concert tours starting with a theatre tour of Great Britain. Everything seemed to be looking up for the lads.

So how did their material fare in this, their first year as a recording group? Well, let’s find out.
[h=2][/h][h=2]The  IBC Demos[/h] 






I’m not sure how the Rolling Stones came to recording five demos at IBC studios in March 1963. Giorgio Gomelsky, who was their unofficial manager at that time, may very well been trying to secure the Stones a recording contract.  In any event these are the first legitimate recordings by the Rolling Stones even though there was no recording contract yet.


*Diddley Daddy*: The first of two Bo Diddley covers and probably the best track on this demo. Some nice harmonica work and background vocals. Ian Stewart is on the piano.

*Road Runner*: The other Diddley cover and a bit more recent than Diddley Daddy, having been released in 1960. Not as good as Diddley Daddy but certainly not a bad rendition.

*Bright Lights Bright City*: The Jimmy Reed cover. You may sense that the Stones really liked Reed at this point. You can hear Stewart and the piano again. It’s a nice bluesy number and does Reed justice.

*Baby What’s Wrong*:  A nice Jimmy Reed cover. Jagger sounds like he’s being double tracked here. Some great guitar work and steady drumming by Watts here. This would have worked very well on an early Stones’ album.

*I Want To Be Loved*: This is the Muddy Waters cover. This is another artist the Stones idolized. I don’t think this works too well, mainly because they would do other songs that would do Waters better justice. Not terrible but not the strongest track on this set.




[h=2]1963 singles[/h]





*Come On*: The Rolling Stones’ debut single on Decca is a workable Chuck Berry cover. It’s sort of note by note a replica of Berry’s original only with Jagger singing. A decent song but pretty average by Stones standards

*I Want To Be Loved*: The official single version of the Muddy Waters song. This is a slightly more polished version and it works a little better than on the IBC demo. You may also notice that the piano is missing here and Jones’ guitar work sounds a little different, better.








*I Wanna Be Your Man*: The classic Stones cover that the Beatles had given them. Ironically, the Beatles had released their own version right about the same time, giving it to Ringo. I guess in a way I’m comparing apples and oranges here but I think I like the Stones’ version better. It has a harder edge and Jones plays a mean lead guitar. An early favorite.

*Stoned*: This was an from an impromptu session as they didn’t have anything for the B side. So they came up with this instrumental piece with Jagger saying Stoned at certain points. It’s also the first song with the Nanker Phelge songwriting label, something they would do a total of seven times. It’s certainly workable but nothing to write home about.

[h=2]Nanker Phelge[/h] 

Nanker Phelge was a pseudonym Brian Jones came up with when all of the Stones were involved with writing a song. At this point, Jagger and Richards were only beginning to write songs and the others never would be a factor in songwriting. Even Bill Wyman, who would write In Another Land years later, wasn’t especially prominent as a songwriter and Jones didn’t write at all save a jingle for Rice Krispies. So they came up with Nanker Phelge so all, including Ian Stewart as the unofficial sixth Rolling Stone, could share in the profits.  Andrew Loog Oldham would claim it was a scheme by Allan Klein, who by then had signed on as business manager for Oldham to share in the royalties. Incidentally, Klein will be an interesting character in the Rolling Stones saga as he would be quite notorious in time. For now though Nanker Phelge would exist until 1965 when everything was from then on  would be Jagger-Richards.


So that’s about it for the Rolling Stones in 1963. 1964 will prove to be a promising and busy year as their dirty up their image even more and be part of the British wave that sweeps America. So stay tuned for the next installment.


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## Phil Istine (Oct 20, 2019)

I did actually see them play many moons ago at the Knebworth festival in   the UK.  It was August, 1976 and we were at the back end of the second   consecutive summer of heat.  We don't often have baking summers in   England, but two in a row is practically unheard of.  There was quite a   line-up with 10cc, Todd Rundgren, Lynyrd Skynyrd (a few weeks before   their plane went down), and others.  Hot Tuna springs to mind as well,   but that may be my memory playing tricks.

Six of us went there  complete with backpacks and made the journey  across London to grab a  train to Stevenage, the closest station to the  festival.  Anyone jumping  out at Knebworth faced a far longer walk.  At  least it was easy to bum  the trains in those days - fares were a waste  of good scoring money.

The  field containing the stage was a natural amphitheatre, undoubtedly  why  it was chosen, and the stage was shaped like a large open mouth  with a  protruding tongue for performers to strut on.

We only had a little  weed and more was hard to come by, but there was a  guy going around in a  pink hooded gown who was selling acid, so we  settled for six tabs - one  each.  I even remember they were 75p each,  but that was an hour's pay  in those days.  We delayed dropping them so  that we would be peaking  when The Stones came on (usually about three  hours from drop to peak),  but we were thwarted because a dodgy P.A.  system meant they performed  late.  We were so off our faces we thought  the screeches from the P.A.  were some musical enhancement.  It was quite  a weekend.


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## Deleted member 56686 (Oct 21, 2019)

*1964.*







1964 would be a transformative year for the Rolling Stones. They recorded their first album early in the year and their popularity began to grow to the point that London records in America began releasing Rolling Stones records.  Jagger and Richards were still new at songwriting, but their abilities were growing at a rapid pace. Their image as unkempt cretins compared to the more clean cut Beatles was a brainstorm of Andrew Loog Oldham’s who was doubling as both manager and record producer. In fact, he had his own orchestra to play their own versions of Rolling Stones songs, something that I sense annoyed the five.

In June of 1964, the Rolling Stones embarked on their first tour of the US. They endured a strange introduction by Dean Martin on the Hollywood Palace, and they made recordings in Los Angeles and Chicago, the latter at the famous Chess Studios.  By the end of summer, Stones concerts would be marked by riots in Europe. Their fan base also differed from the Beatles to some extent as boys were be the ones who would flock to the stage quite often.

In the fall of 1964, The Stones would again tour America, this time appearing on Ed Sullivan, no doubt to his chagrin (though they would make several appearances between 1964 and 1967). They recorded more tracks at Chess Studio for their second album and Time Is On My Side was near the top of the US charts. The Rolling Stones were big time stars now and their unkempt image seemed to be working for them.

And their musical output in 1964 would become the stuff of legend. It was a mixture of blues and rock covers and Jagger- Richards originals. With an album a pair of EPs and some singles, there is a lot to cover, so here we go.

[h=2]THE ROLLING STONES- EP[/h]



Recorded in 1963, this would more or less be the follow up to the I Wanna Be Your Man single. At times it is every bit as gritty as you will note by these tracks.


*Bye Bye Johnny*:  The thing you notice about the Stones in these early days is the unique guitar work even as they do a good job of imitating Chuck Berry, whose song this is. You can hear a little bit more recording polish at this point but the quality is still a bit grimy. It’s a good version of Berry.

*Money*: This is probably my favorite Rolling Stones cover. It’s pure blues in my opinion. The deep guitar work compliments the harmonica and Jagger’s vocals. It’s head and shoulders above the Beatles’ version, which I like a lot, and comes close to even topping the Barrett Strong original (my all time favorite Motown song by the way).

*You Better Move On*:  Arthur Alexander must have been very popular with the British Bands. The Beatles covered Anna, and Soldier of Love and Where Have You Been All My Life were in their Hamburg repertoire. The Rolling Stones cover this classic and it’s a decent job. Probably not typical of the Stones at the time, but certainly not a bad track.

*Poison Ivy*: The Coasters’ cover, this one, like Money and Bye Bye Johnny, will show up on Hot Rocks Volume II a decade later.  It’s not terrible but probably not the best Stones song ever.







*FROM SATURDAY CLUB*

*Fortune Teller*:  There are actually two versions of Fortune Teller, the Benny Spellman cover. Needless to say, the Stones version is a bit rougher that the Spellman soul version. It’s a nice cover but nothing special. It got some airplay on American radio in 1966.

*SINGLE

*






*Not Fade Away*: The third single and their first top five in Britain. This Buddy Holly cover was also the first single in America later in the year. It has something of a Bo Diddley vibe, not unsimilar to Holly’s version except this sounds a lot closer to Bo Diddley. It’s a decent version but they would get better.

[h=1]THE ROLLING STONES[/h] 






This was the first of many Rolling Stones albums. Marketed (mostly) as England’s Newest Hitmakers in the United States at about the same time, the debut album is mostly covers  with only three originals, two with the Nanker Phelge label and the first Jagger- Richards composition with Phil Spector sharing songwriting credits (at the time also listed as Nanker Phelge).  It’s a solid album, especially by 1964 standards, but it was obvious the Stones hadn’t established their full sound yet, much like the Beatles hadn’t with Please Please Me the year before.  Nevertheless a nice album for any collection.


*Route 66*: The Bobby Troup classic that was going to reach fame in its own way and the Rolling Stones would have a big part in this. This was one of the most popular songs in the Stones’ early repertoire and it rolls along quite smoothly.

*I Just Want To Make Love To You*: Another favorite of mine. This totally differs from the slow Muddy Waters version as this is more of a rave up. One thing for sure, Brian Jones is sure mastering the harmonica. Great song.

*Honest I Do*: Another Jimmy Reed cover. This is a bit bluesy as it should be. Somehow I think Reed’s version would be a little bit better though. Fits in well with the album.

*Mona*: Another Bo Diddley classic. I think by now you may notice the Stones keep going back to their favorite artists (Muddy Waters , Jimmy Reed, Chuck Berry, Bo Diddley). This shows how influential these artists were to them.  A decent song, not their best, but, like Honest I Do, fits in with the album.

*Now I Got a Witness*: An instrumental and obviously an answer song to Marvin Gaye’s Can I Get a Witness, this Nanker Phelge composition, I’m thinking, is a filler track. It’s okay, but Green Onions it isn’t.

*Little By Little*: This song has a story. Phil Spector is listed as a co-writer with “Nanker Phelge”. He happened to be in the studio when they recorded this. Gene Pitney is on piano on this track. Pitney would also record a version of the Jagger-Richards composition That Girl Belongs To Yesterday. Nice track.

*I’m a King Bee*: The Slim Harpo classic and, yes, I love the original. The Stones do great justice with this one. Watts does a nice beat on this and the guitar work by Richards is rather inspired. Another favorite.

*Carol*: A Chuck Berry cover and one of the better tracks. I’m amazed more bands didn’t cover this as this one is pretty hard to screw up. The Stones certainly don’t.






*Tell Me*: Finally, an actual Jagger-Richards composition. It’s pretty simple in form. It’s a bit catchy with “Tell me you’re gonna get back to me.” It’s a decent start for the songwriting partnership. This would be the first top forty hit for the Stones in the US.

*Can I Get a Witness*: Piano again is being used on this Motown cover. Jagger does a good job with the lyrics but somehow, I don’t think this works that well as a Stones’ song.

*You Can Make It If You Try*: The Gene Allison cover. I don’t think this was originally that big a hit for Gene Alison but obviously the Stones liked it. In any event, it’s not a bad version. Lots of organ on this one.

*Walking the Dog*: The Stones finish with pizzazz with this Rufus Thomas cover with the whistles and all. This is a very good version with some good percussion and bass on this one.


So the Rolling Stones had their first album in the books. London released it with a few variations as England’s Newest Hitmakers in the US and the Stones would have their first footing in the American market. They only had upwards to go.


[h=3]Interlude: The Rice Krispies Jingle[/h] 





For whatever reason, Kellogg’s commissioned the Rolling Stones to write a jingle for one of their commercials in Britain. This is the one and only composition by Brian Jones. It is done in the Stones’ style and it really isn’t that bad. The commercial itself, well…

*SINGLE

*





*It’s All Over Now*: Written by Bobby Womack, this would be the Rolling Stones’ first number one in England. It would peak at number twenty-six in the US.  I really like the guitar work on this one and you can sense the Stones are beginning to grow a little professionally on this one.

*Good Times Bad Times*:  A Jagger-Richards composition and a bit better than Tell Me. It’s a slower bluesy tune. Kind of country based in some ways. It’s one of the few Stones’ songs you could mellow out to at this time period. I like this song.

[h=2]EP- FIVE BY FIVE[/h] 





This second EP was the result of the first Chicago recordings and you can hear the energy on some of these tracks.  Andrew Loog Oldham wrote the liner notes. Two Nanker Phelge tracks compliment three covers on this rather clever EP.

*If You Need Me*: The Wilson Pickett cover. Do you notice the Stones tend to do covers that seem out of the norm compared to the other British Invasion groups? The Animals had that knack too to be fair.  It’s nice, kind of soulful. This had been a number two hit for Solomon Burke a year before.

*Empty Heart*: Nanker Phelge is at it again. This is definitely one of my favorite early Stones’ songs.  Love the vibrating guitar. Richards is obviously already experimenting with guitar sounds. This song has a lot of energy and Watts really keeps the beat going. You can already hear what a great drummer he was/is.

*2120 South Michigan Avenue*: Another Nanker Phelge instrumental.  This sounds a little loungey in a good way. Probably the result of a jam session, 2120 Michigan Ave is where the Stones recorded in Chicago.

*Confessin the Blues*: This is definitely a blues cover and from Jay McShann at that. They do this one justice to be sure and I can say this without actually having heard the original (not yet anyway).

*Around and Around*: Another Chuck Berry cover, the Stones liked to play this in their live shows. I can see why, it’s almost as good as their version of Carol. I think Berry may have been their biggest influence along with Muddy Waters. They are the two artists the Stones seem to mention the most.

[h=3]Late 1964 Single Tracks[/h]
	

	
	
		
		

		
		
	


	




*Congratulations*: It is the flip side of Time Is On My Side which will be on  Rolling Stones No.2. This is an original Jagger-Richards composition. It’s kind of a bitter song in some ways. It’s a slow paced song with some acoustic sounding guitars thrown it. A little countryish. Pretty cool song.






*Little Red Rooster*: Off the Hook, off No.2, is the B-side of this single.  This was the Sam Cooke cover and it’s a nice blues standard in a sense. It’s poignant in a way as Cooke would be shot dead just a month after this release. Cooke had matured quite a bit  to the point where the Stones could record one of his songs to begin with. Somehow I don’t think Another Saturday Night would have worked for example. This one does, but I sense this should have been the B-side.


There would be three songs recorded off the US 12x5 that hadn’t been released in England yet, but since they’re on  No.2 next year, we’ll hold off on them until then.  But first…

[h=2]Interlude: The TAMI Show[/h]





Towards the end of the year and during the Stones’ second US trip, they made an appearance on what was known as the TAMI show  in which a movie would be made from. The Stones’ happened to be the main attraction and I remember seeing the excitement they were creating (I saw the video). It was actually the first time I heard Off the Hook, one of my favorite Stones’ songs (we’ll get to that next year).  You can see how Jagger can bring the fans to their knees with his gyrations. It was also fun to see the contrast to see Jagger bouncing around while the other members, and Bill Wyman in particular, just seemingly standing in one place. It was a fun thing to see. Another interesting tidbit is that they finished the show with  Bo Diddley’s I’m Alright as the dancers and other bands crowded the stage. I’m Alright was a song the Stones played at a lot of their concerts. It was a good way for the Rolling Stones to end the year and one could see how their star was on the rise.

But the star was about to rise even higher. By summer they would emerge as the Beatles’ biggest rivals, both critically and commercially. And you’ll see why when I review 1965 in the next installment. Stay tuned.


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## Irwin (Oct 21, 2019)

The Rolling Stones were a great band and wrote some classic songs, but Mick Jagger can't carry a tune to save his life. For that reason, they suck live. And who the hell wants to see him prancing around the stage? Of course, that's just my opinion. Die hard fans don't seem to mind.

That was one thing the Beatles had over the Stones: Paul and John were great singers--especially when they sang together. Hell, they could even sing on key when they couldn't even hear themselves over all the screaming.


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## Deleted member 56686 (Oct 22, 2019)

*1965 (part one).*







1965 would be another growing year for the Stones as they, like many artists at the time, would be starting to expand their musical horizons. The year started with them still playing R&B tunes but Jagger-Richards compositions were becoming more common. When Satisfaction was released in June, it signaled the Rolling Stones as a major force in the rock n roll annals. Satisfaction would be the number one song of the year in the US and Get Off My Cloud would also be a number one smash. Songs that were in more of an experimental mode would include Play With Fire, Satisfaction, and As Tears Go By.

The year started out with a tour of Australia. Meanwhile, the Stones would reinforce their bad boy image when Bill Wyman and Brian Jones were busted for peeing on a wall in North London. More concert tours and TV appearances were the norm this year and they would record more cuts in Los Angeles. During it all they would get to meet some of their blues idols like Howlin Wolf and Son House.  Towards the end of the year, Brian Jones would meet Anita Pallenburg and a love triangle between them and Keith Richards would reach the gossip pages. At the same time, Mick Jagger was courting pop star Marianne Faithful, who had had a hit with the Jagger-Richards composition As Tears Go By. Andrew Loog Oldham had the Stones filmed in Ireland during a tour that he had hoped to show sometime in 1966, alas it has only recently been released.  And by the end of the year, they would be introduced to acid and will be on the verge of expanding their musical horizons even more after the release of the Beatles’ Rubber Soul.

So, indeed, 1965 would be prove to be quite interesting, and fruitful, for these unkempt lads. So let’s get on with the music, shall we?






[h=1]THE ROLLING STONES NO.2[/h] 

January 1965 saw the release of the Rolling Stones’ second album in Britain, aptly named Rolling Stones No.2.  Like the first album, the album consisted of mostly covers along with three Jagger-Richards originals. The Glimmer Twins were still trying to find their footing as songwriters and only Off The Hook would be especially memorable. Still, their covers, at least the best ones, hold up well to the debut album and is a good buy for a fan of early Rolling Stones (which I happen to be).

*Everybody Needs Somebody To Love*: The Solomon Burke classic. It is a bit long. The Stones would later get into an occasional groove of long jam type sessions on their songs. This one isn’t bad, but there’ll be better examples of the jam technique.

*Down Home Girl*:  I had to check who originally recorded this Leiber-Stoller composition. Apparently this was originally done by Alvin Robinson on the Red Bird label.  More of a medium paced song. Jagger is trying to be sounding soulful like the original, but this may not have been the right song for this. Still a solid track though.

*You Can’t Catch Me*: A great Chuck Berry cover. I know this one for sure. Some great guitar work and, frankly, Jagger is a better vocalist than Berry, so this one compares quite favorably to the original. At least they didn’t make the mistake of not crediting. “Here Comes Old Flat Top, “ to Berry. :lol:






*Time is On My Side*: There are actually two versions of this classic. The single version with the organ intro and the album version here with the guitar intro. I originally heard the guitar intro first on Hot Rocks but the radio always played the cruder, organ based version. Originally recorded by Irma Franklin early in 1964, I have to say I prefer the cruder Stones version. I think there’s more of an earthiness to it. I also really like Irma Franklin’s version but that’s for another thread I think.

*What a Shame*: A Jagger-Richards original. A great lead guitar guides this tune. This track, in some ways, shadows what Jagger in particular would sound like when they finally hit their standard sound in the late sixties. I’m really liking this album at this point.

*Grown Up Wrong*: Another Jagger-Richards composition, this one borrows a bit from the blues with the  slide guitar being the main attraction here.  Probably the weakest of the originals and I don’t think critics liked this one, but it sounds okay to me.

*Down the Road Apiece*: This was a cover from 1940 of all things. Needless to say this is totally different. It’s also very good, kind of like a fifties rock standard.  It rolls along nicely and a good way to start the second side.

*Under the Boardwalk*: I never really liked this version that much. The Stones never should have tried to cover the Drifters in my opinion. To me, this song falls a bit flat for me and maybe this does need strings like the Drifters had and, let’s face it, strings don’t work well with the Stones. Probably my least favorite song on the album.

*I Can’t Be Satisfied*: Well you knew they were going to cover Muddy Waters sometime. Like the original, the slide guitar is prominent. I can’t help but think that you can’t top the great blues artist though.  It’s certainly listenable but I can’t say this is a favorite.

*Pain in My Heart*: And here starts the love affair with Otis Redding. He’ll be a prominent figure again later- and soon.  Unfortunately, Jagger is no Otis Redding. They do the best they can with this track, but it honestly doesn’t wow me that much.

*Off the Hook*: This is one of my favorite Rolling Stones songs and certainly my favorite on this album. Originally released as the B-side to Little Red Rooster, this song, perhaps more than any other Jagger-Richards composition to date, showed some confidence in what would be a very fruitful songwriting team. The song has a great beat as well as a cool bass line. It might be a little pop by Stones standards, but so what? It’s a great song, period.

*Suzie Q*: The album finishes up with a raucous version of the Dale Hawkins original. This is a song that had a few notable covers, most notably from Creedence Clearwater Revival in 1968. Of course the original is the best,  but I take the Stones version over CCR. For one think I like how the song seems to change beats and , well, it just rocks. One of my favorite songs on the album.






[h=3]From the Rolling Stones Now (US)[/h] 
*Surprise Surprise*:  This was left off No.2 apparently. Jagger-Richards wrote this one and I can see why it didn’t make the cut, instead it was placed on the American Rolling Stones Now LP. Not a very strong song to be honest. I think they were trying to do American soul here.


[h=3]Single[/h]
	

	
	
		
		

		
		
	


	





*The Last Time*: I absolutely love this song. Easily among my top five Rolling Stones songs, I love the jangly guitar work on this track. As usual, Watts keeps a steady pace and that has a lot to do with the greatness of this song

*Play With Fire*: This one is interesting.  Phil Spector is again involved with this Nanker Phelge production, with echo and harpischrord by Jack Nitzschke complimenting the piece. Probably the most ambitious Rolling Stones song to date and one of their best. I also love the lyrics which are basically put downs of some little rich girl. Really cool song- should have been an A side in its own right (though not here).


So this ends part one as 1965 was such a big year for these Stones. Stay tune for the next installment where we cover the biggest hit in Rolling Stones history- and then some.


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## midnightpoet (Oct 22, 2019)

I was originally a Beatles fan, but as I've gotten older I can appreciate the Stones.  Of course, I think Jagger and I are the same age and he just had another kid a few years ago.  And the fact that they just keep going.  They must be drinking the same water as Tom Brady (Captain America).  :highly_amused:


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## Deleted member 56686 (Oct 23, 2019)

*1965 (part two)*









I probably should have saved some of my intro to late 1965 to put here, but no matter. This is the part where the Stones solidify their standing as the biggest threat to the Beatles’ crown.  Unfortunately, despite a couple real classics during this period, this half doesn’t seem to have the same energy the first half of 1965 did. Nevertheless, the Rolling Stones have their moments, so here we go 







*(I Can’t Get No) Satisfaction*: A lot of history goes with this, the Rolling Stones’ most famous song. Keith Richards said he was dreaming of the famous riff and he recorded the riff on a cassette player. Soon the basic refrain of I Can’t Get No Satisfaction was written and a true classic was born. The song is led by a fuzz lead guitar throughout and the bass is also quite evident. Jagger’s vocals are never better as he sneers about commercialism. It’s actually some of the best lyrics ever written by Jagger and Richards. I like the song, but honestly, I don’t put it among my very favorites. As of 1965, my favorite song would still be The Last Time. But I can see why this would become the Rolling Stones’ signature song and would also be the number one song in America in 1965.

Incidentally, this is where the rest of the Otis Redding story comes in. During this period, he would write perhaps his own greatest song, Respect, covered by Aretha Franklin of course. But he also would record a cover of Satisfaction in 1966. That version was so good, people thought the Rolling Stones were covering him (and they did cover Pain In My Heart and That’s How Strong My Love Is). It was a compliment to both Redding and the Rolling Stones.


*Live interlude- Got Live if You Want It EP (UK)*








This is the first of countless live collections from the Rolling Stones over the years. I have no doubt the Stones were trying to be at their best here perhaps knowing this would be released as some sort of live set. I think that’s the rub against live albums; you’re not going to hear just some ordinary show.  I think that’s why I’m not into live albums in general (though I have a feeling I’ll be starting a live thread one of these days). I mean, if I want to hear a band live, wouldn’t it be better to actually see them? Otherwise, the studio version will just do fine.

Having said that, I have to say there is a lot of energy in this EP and you can hear the obvious popularity from the screams in the audience. One nit; this is not a continuous recording as you can hear the three second gap between Route 66 and I’m Movin On, a nice rendition of the Hank Snow classic incidentally. I also have a feeling the Beatles fans were a bit more frantic circa 1965.



*Interlude- from US Out of Our Heads*







Quickie review

You know, London tried by adding the big hits like The Last Time, Play With Fire, and the big smash, Satisfaction but it still falls flat. This was actually the first Rolling Stones album I bought and I have to say, I was disappointed. They threw in the live I’m Alright from the Got Live EP for good measure and it’s decent but the studio tracks outside of the singles, well, check out my review of the actual Out of Our Heads LP coming up.


*Spider and the Fly*: This song honestly doesn’t impress me. They played up this song a lot on the various Stones docs I read over the years but to me there isn’t that much to recommend. It certainly isn’t all that melodic  and the lyrics are pretty mediocre. Anyway, I’m not impressed.

*One More Try*: Another one that I could have written when I was a kid. Actually, maybe I did. I used to takes poems and put them to music and, believe me, they were some of the worst melodies ever. This song kind of sounds like that. I do like the harmonica though.

*OUT OF OUR HEADS*







So here we are with the British version and probably the way it was intended- sort of. Well, first of all, it appeared that the Stones didn’t have the same control over how their albums in the UK were organized like the Beatles did. For one thing, the reason I didn’t review Heart of Stone after the late 1964 release of the single is because of my desire to cover UK albums as they were meant to be track wise. Thus, only now will I be getting to that review.  Add to the fact that none of the stronger Stones’ singles (besides Heart Of Stone) are on here, and you have the Stones’ weakest effort to date. Jagger and Richards still don’t have enough confidence to carry an album by themselves and there is no George Harrison to help with the songwriting chores, thus, the album, like the previous two, are chock full of covers. This will be the last such album though so let’s see what we come up with, shall we?


*She Said Yeah*: This song, also covered by the Animals, was a Larry Williams original. I wasn’t crazy about the Beatles’ Larry Williams covers so why should I be here? Admittedly, She Said Yeah is a better choice for both the Animals (the better version) and the Stones, but, yeah, maybe they should have stuck with Muddy Waters.

*Mercy, Mercy*: A workmanlike Don Covay cover, it certainly isn’t a bad track, but it certainly isn’t a song I think of when I think of (still) early Rolling Stones.

*Hitch Hike*: The same thought with this track, a cover of the Marvin Gaye hit. This is their second shot at Marvin and probably the weaker of the two. You really wonder if the Stones were going through their contractual obligations on the record.

*That’s How Strong My Love Is*: The second Otis Redding cover overall is probably the strongest track on this album so far.  It does lack the brass that accentuated Redding’s version, but you can still tell there may be a love affair going with their American contemporary here.

*Good Times*: Now it’s Sam Cooke’s turn. By now, Cooke was no longer with us and it’s possible this was a tribute of sorts to him. Like the other covers, it’s not terrible but they don’t seem to be taking any chances either. Brian Jones plays the acoustic guitar on this one.

*Gotta Get Away*: Not a terrible song. It doesn’t really sound much like the Stones style even though it’s a Jagger-Richards original. Having said that, I like the soulful beat. With another artist, this could have worked.

*Talkin About You*: An obscure Chuck Berry cover, this too was covered by the Animals. I hate to say it but the Animals did this one better also. The Stones previously did justice with Berry covers but this one, I think they’re trying to sound a little too modern (1965) standards here.

*Cry To Me*: Solomon Burke’s turn here. This one is slower and bluesier than the original but it still comes off as something they did to satisfy the record bosses, or at least Oldham.

*Oh Baby (We Got a Good Thing Going)*: Originally released on the Rolling Stones Now in the US, this isn’t a bad version of the Barbara Lynn song.  Probably the strongest track since That’s How Strong My Love Is.






*Heart of Stone*: It’s kind of a shame that the songs that save this album are tracks not even meant for it. Heart of Stone was a hit for the Rolling Stones in late 1964 and, if anything, should have been on No.2. But it’s on here, so here we go.

And I do like this song. This is certainly one of the better original compositions at this stage of the Stones’ career.  It features a great lead guitar and even a little bit of harmony at a certain point. In the right context you can see the progression between Time Is On My Side and The Last Time and you can sense, singles wise anyway, this was a fruitful time in the Stones’ repertoire.

*The Under Assistant West Coast Promotion Man*: The last of the Nanker Phelge compositions, this, allegedly, was something of a swipe at Andrew Loog Oldham, or so I have read. There certainly is a certain nastiness to the lyrics whoever it may have been directed at (Allen Klein?). Musically, I don’t think the Stones are trying to re-create Satisfaction here, but lyrically, well it isn’t exactly Dylan, but wow!

*I’m Free*: Technically my favorite song on this album is Heart of Stone but of the songs that are supposed to be here, I’ll go with this one. Hopefully this is the last time I have to say Jagger-Richards original as most of the songs from here on will be. But it is, and, while they could have used another take or two, this track flows quite nicely and I love the self-determination of the lyrics (I’m free to do what I want-any old time). Some nice tremolo on the guitar and a fantastic way to end what is overall a fairly mediocre album.

But wait, there’s more…


*Single*







*Get Off My Cloud*: The follow up single to Satisfaction is something of a monster in its own right as it also went to number one.  I might have mentioned that the Stones weren’t exactly Dylan, nor Lennon-McCartney, hard as they may have tried, but this is a set of damned good lyrics. Basically Jagger is saying to stop annoying him with the everyday aggravations so Get Off His Cloud.  Surprisingly, Jagger and Richards weren’t so impressed as they felt like nothing could have topped Satisfaction.

*The Singer Not the Song*: This is about as folk-rock as the Rolling Stones ever got. Some nice acoustic guitar work by Richards on this one. Not a great song by any length of the imagination, but certainly tuneful, if a bit crude.


*US Album- December’s Children*







Thanks to the wonderful packaging techniques of our wonderful American companies, in this case London Records,  we have a few tracks that had yet to be released anywhere else to wrap of 1965.


*Look What You’ve Done*: A Muddy Waters cover. Not one of the better ones and possibly not meant for release. I guess London was hard up to release another American album though.

*As Tears Go By*: Originally written for Marianne Faithful, maybe this is the first song where John Lennon would start complaining the Stones were trying to copy the Beatles (see Aftermath and Their Satanic Majesties’ Request). In this case, perhaps they were trying to copy Yesterday as this track has its own string quartet. It charted well for the Stones, but honestly, this just isn’t their style.

*Blue Turns To Grey*:  This would be a hit for Cliff Richard in England. Needless to say, this is nothing like Devil Woman. I think because I did hear the Cliff Richard version first, I can’t get into this one. Kind of like I had to get used to the Beatles’ I Call Your Name after hearing the Mamas and Papas' version first. Not a bad track though.


So that takes care of the biggest year I probably have to cover here.  1966 will certainly be chock full of music and it will be quite an interesting year as the Stones, like seemingly everyone else, will be trying to expand their musical horizons. Will they succeed? Stick around for the next installment and find out.


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## Bloggsworth (Oct 23, 2019)

I remember one of our "Old Boys" came back to the school for a visit:

"_Hey Titch, we heard that you were playing guitar with the Rolling Stones_."

""_What! Them! I wouldn't play with them if they paid me_..."

This was just as *Come On* was hitting the airwaves.


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## Deleted member 56686 (Oct 24, 2019)

*1966.*








This would be a year of musical growth for the Rolling Stones. Brian Jones, in particular, would be experimenting with new instruments such as the sitar and the dulcimer. This was also the year Jones would begin to feel detached from the rest of the band and turn to alcohol. Musically, though, this would be a banner year for the Stones as this was the year of the Rubber Soul influenced Aftermath among other things. There were again more tours and television appearances and, in fact, their first full live album would be released at the end of this year.

So, basically, the Rolling Stones would come up with a bonafide album that was sabotaged by London in the States as usual and a handful of singles. It was the most creative year to date, so here we go with the reviews…

[h=3]Single[/h]
	

	
	
		
		

		
		
	


	




*19[SUP]th[/SUP] Nervous Breakdown*: Definitely a favorite track of mine. This was a sizable hit in the US and I remember this was played a lot as an oldie on the local AM station in Baltimore. It’s a fast paced song and Jagger writes some interesting put down lyrics on this one. In some ways this was a set up for Mother's Little Helper later in the year.  Some great guitar and bass work.

*Sad Day*: The flip to 19[SUP]th[/SUP] Nervous Breakdown and probably deserves to be a B-side. I think they’re trying to be experimental in some Arthurian way. I honestly can’t get into this one despite it sounding pre-psychedelic with the piano bit.


[h=3]Interlude: Charlie is My Darling[/h]
	

	
	
		
		

		
		
	


	




This was a hour long film commissioned by Oldham that was meant as a documentary of the Rolling Stones’ tour of Ireland in late 1965. It wouldn’t be released for decades, but when it finally was, it showed the band  seemingly enjoying each other’s company more than anything else. You can also see cliques as Jagger and Richards are hanging with Oldham, who seems overly prominent in this film, while Watts and Wyman seem to be doing their own things. Who knows what Brian Jones is doing.
[h=1]AFTERMATH[/h]
	

	
	
		
		

		
		
	


	





This is one of the last examples of what an American label could do to screw up a classic album and, fortunately, fail.  Basically the big difference is the American version also has Paint It Black which we’ll cover later, being this is the British version I’m reviewing. Anyway, this was obviously influenced by Rubber Soul. It was obvious the Stones were huge fans of the Fab Four and perhaps they were a little jealous at the Beatles’ unprecedented fame. Now that the Beatles were shedding their Moptop images, it was time for the Stones to shed their image as well. Thus, a rather uneven period musically in the Stones music would dominate over the next two years. Luckily, this album will be a high point and I consider this one of my favorite Rolling Stones albums.  The other two major studio albums from this period won’t be so much.







*Mother’s Little Helper*: I tried to rate my very favorite Rolling Stones songs once and this came in at number two (Number one will be a few years from now). And why not? This track has everything as Jagger laments the hypocrisy of a typical housewife with a pill addiction.  Richards uses an electric 12 string slide guitar for the lead and it certainly is the main force of this song. Yes, it’s my favorite song on what is an excellent album.

*Stupid Girl*: This is another one of Jagger’s put down songs. It seems he was having girl problems around this time and he was writing some pretty nasty lyrics. Ian Stewart is prominent at the organ on this one.






*Lady Jane*:  Lady Jane is an unusual song for the Stones, even by 1966 standards. It’s very Elizabethian by nature and there is no percussion on bass, just Brian Jones on dulcimer, Richards on acoustic guitar, Jack Nitzschke on harpsichord, and Jagger on vocals. It’s a nice tune and good enough that it was released as a single in America.

*Under My Thumb*: Perhaps the nastiest of all the Rolling Stones songs. It’s incredibly misogynist by nature and I’m sure a lot of women were offended by this one. It’s also masked around a great song with Jones playing the marimbas and a great fuzz background. I hate to admit it, but this is one of my favorite Stones songs ever.

*Doncha Bother Me*: The album settles down a little here. Brian Jones again experiments, this time with slide guitar. Certainly a solid track though not in the class of Mother’s Little Helper or Under My Thumb.

*Goin Home*: This one is long, I mean really long. I actually heard this track on an aircheck for some underground station. These were the type of songs they would play if they had to go to the bathroom. Anyway, it is a bit long but I do like the track.

*Flight 505*: I’m guessing this was a song that had something to do with touring. Probably not their best track. Nice middle break though.

*High and Dry*: This one has a bit of a country feel to it. It’s a pretty simple arrangement after all the different instruments on other tracks. It’s a nice little number.

*Out of Time*: This would be a hit for Chris Farlowe later in 1966. Whether it was written for him or not, I don’t know. I do know Jones breaks out the marimbas again but it doesn’t have the same effect as it does on Under My Thumb. It’s an okay song though.

*It’s Not Easy*: Not one of their classics obviously. It fits in with the album though and I have to admit, there isn’t a track I actually dislike at this point. But it’s obvious side two is not having the same punch as side one.

*I Am Waiting*: Another Elizabethan type of song. You might have head this on The Royal Tennenbaums.  This is probably the best song on side two. Brian Jones is having fun with the dulcimer again.

*Take It Or Leave It*: This was a hit for the Searchers at about the same time. Brian Jones experiments with a Japanese instrument called a koto on this one.  This is about as melodic as the Stones ever get. Not a bad song, the Stones don’t do so bad in the minor key.

*Think*: I definitely think I’m hearing a little bit of Rubber Soul on this one.  Some acoustics in the background. It sounds like there might be a little fuzz on this track too.

*What To Do*: This is weird way to end the album. It’s a pretty simple melody really. It’s not the song I would pick to end what is a really fantastic album, but hey, I’m not Andrew Loog Oldham, am I?

[h=3]Single[/h]
	

	
	
		
		

		
		
	


	




*Paint It Black*: This was the Rolling Stones’ biggest hit of 1966 in America. This is famous for featuring the sitar. You see, George Harrison started something of a fad with the sitar and Brian Jones joined in on the fun. As for the song itself, well, it’s as dark as the title suggests. Jagger would write lyrics of seeming depression. Perhaps this was the precursor to Sympathy For the Devil. In any event, this is one of the Stones’ classics.

*Long Long While*: I had to check that this was not a cover. Nope, it’s Jagger-Richards. Not bad for a B-side circa 1966. This Otis Redding influenced number would have worked on an album.








*Have You Seen Your Mother Standing in the Shadows*: This one is a bit frantic and a bit disjointed but that wasn’t unusual for the Rolling Stones, or at least it wasn’t in 1964-1965. The trumpets certainly add to effect on what is a fairly psychedelic tune. Fared okay as a single but not as huge as Paint It Black.

*Who’s Driving Your Plane*: This is a nice bluesy track that could have easily been the A-side. Not that it would have fared better than Have You Seen Your Mother, but you can hear the boogie style piano on this track that sounds more like late sixties/ early seventies Stones actually.


[h=1]BIG HITS (HIDE TIDE AND GREEN GRASS) (greatest hits compilation)[/h]





The first of many greatest hits compilations, this album features the latest hit single, Have You Seen Your Mother Baby, Standing in the Shadows. It’s a decent collection but it doesn’t seem very complete to me. I don’t see I Wanna Be Your Man for example, but if you were a casual fan, this album would be a decent way to start.

[h=1](Live-US) GOT LIVE IF YOU WANT IT[/h]







This live album really got panned and I think I know why. The quality sounds pretty good. And it should- Jaggers and Richards overdubbed the vocals and instruments in the studios and two tracks  that were previously recorded they simply put in over the screaming. Only Watts and Wyman are playing live and they’re actually pretty good. Guess the other three sucked at concert.


So thus ends a rather productive year. Technically, 1967 will be even more productive year. The quality might be another story though as the Stones are now right between their early R&B sound and the hard rock sound that would define them forever from 1968 on. Anyway, we’ll go over the great lost year in the next installment. See you then.


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## Deleted member 56686 (Oct 25, 2019)

*1967 (part one)*








The Rolling Stones started the year innocently enough. They again took a cue from the Beatles and took a hiatus from touring. Their 1967 European Tour would be their last with Brian Jones. Unlike the Beatles they would still make TV appearances though and it was an infamous one where Ed Sullivan made them change the words to Let’s Spend the Night Together to Let’s Spend Some Time together. As if that didn’t mean the same thing. 

The Rolling Stones would make another TV appearance a month later, or at least Mick Jagger and Keith Richards would. They would be busted for having drugs. This would start a trend of the police trying to nab rock stars with drugs, sometimes bringing their own in case the stars were actually clean. It was at a party where George and Patti Harrison were among the attendees. They waited until the Harrisons were gone before the bust but, ironically, it would be Harrison’s own bust a year later when people began to get suspicious of the tactics. In the meantime, Jagger and Richards, and later, Brian Jones, would have to deal with legal entanglements for much of the year.

Still they had time for two albums, one of which had been recorded in fall 1966 and one they were working on during the early months of 1967, only to be derailed by the legal mess. Needless to say it was a mixed bag as neither Between the Buttons or Their Satanic Majesties Request rate among the Stones’ best albums. Yet there were some amazing gems underneath the seeming mediocrity. So let’s see how the Stones were faring in the first half of 1967…

[h=3]Single[/h]
	

	
	
		
		

		
		
	


	




*Ruby Tuesday*: 1967 started out in good fashion with Ruby Tuesday being one of the Rolling Stones’ best songs. It also signaled the beginning of the Stones’ not quite sounding like the Stones’ period. It doesn’t take away from this track at least. It’s a nice, wistful tune, probably written by Keith Richards, and Brian Jones plays a nice recorder on this track. One of the quieter songs and one of their best.

*Let’s Spend the Night Together*: As mentioned, this one has a bit of controversy surrounding it. A typical piano based Stones’ rocker, some genius who worked for Ed Sullivan thought there was something suggestive about the title as in it was asking a girl to sleep with the protagonist. So he made the Stones change the lyrics to Lets Spend Some Time Together, which also could have meant, “Will you sleep with me?” No matter, Jagger complied and rolled his eyes as he recited the new lyric. You don’t want to know what the Doors would do with Light My Fire later that year. :lol:



[h=1]BETWEEN THE BUTTONS[/h]






So if Aftermath was supposed to be the Rolling Stones’ Rubber Soul, I guess this was supposed to be their Revolver.  Even their album cover was supposed to look Beatlesque. Needless to say, this isn’t a favorite album of mine. In fact, I’d call this my least favorite of all the Rolling Stones’ albums up to 1972 at least. There are some decent tracks on it of course but as a whole, I just can’t get into it.  Anyhow, let’s review and see if I might change my mind (probably not).

*Yesterday’s Papers*: Jagger says this was the first song he wrote melodically. Brian Jones is playing the marimbas again. I think the Stones are trying sound a little too pop mod here if that makes any sense. The middle eight does have a nice melody I’ll admit.

*My Obsession*: This sounds a bit like some sort of TV theme. It’s almost the Glimmer Twins were watching an episode of Batman on this one. No, I’m not crazy about this one.

*Back Street Girl*: An acoustic track with some accordion in the mix as if they were in some French café. A little psychedelic in its own way. A pleasant tune all in all.

*Connection*:  I’m sorry, but again this doesn’t sound like the Rolling Stones. Actually, you can put Mickey Dolenz in at vocals and it may work as a Monkees’ song. I seem to be saying that a lot on music circa 1967. I must be demented.

*She Smiled Sweetly*: Actually a nice moody song. Keith Richards and Jack Nitzschke are at the organ and piano respectively. Probably one of my favorite tracks on the album. Good vocals by Jagger as well.

*Calm Cool and Collected*: A little too ragtime for me. It really isn’t a terrible song though. I think Jagger was doing one of his put downs again.  Just a little too silly for the Rolling Stones though. With another artist, it probably wouldn’t be so bad.

*All Sold Out*: This one I have a hard time following. Thinking of this song though, there was speculation that the Stones could have gone the pop rock route in 1967. Something happened that brought them back to their roots in 1968 (maybe it was more lucrative). It certainly isn’t here though.

*Please Go Home*: This one is certainly loud. Probably one of the better tracks on the album though even with all the annoying echo.  There is a bit of a Diddley vibe on this track. Very nice percussion. I probably shouldn’t like this song, but I do.

*Who’s Been Sleeping Here*:  This isn’t an especially great song either but I think this might have worked on a later album. This sounds more like a blues based song the Stones would perfect by Beggars Banquet. Here, though, it just comes off as a mediocre pop song. I like the acoustic guitar.

*Complicated*: Jagger is singing about a groupie on this track. I would surmise that this is a song about touring. A little bit of a raga rock vibe with the background vocals. Watts doubles on drums and maracas on this one. Not the worst song on the album.

*Miss Amanda Jones*: Probably one of the better songs on the album, but I cringe every time I hear this in the movie, Some Kind of Wonderful. John Hughes apparently named a character after this Amanda Jones. Anyway, there is a touch of Have You Seen Your Mother in this one and it’s at least listenable.

*Something Happened To Me Yesterday*:  I’m not too crazy about this track either. Again, it comes off as too silly and the Stones don’t do silly very well.  Brian Jones plays most of the horns on this track. They also do an outro which, of course, makes no sense. Must have been the drugs. :lol:


And so ends my least favorite Rolling Stones album until Goats Head Soup. Actually, it might be my least favorite until the eighties, but whatever. The second half of 1967 will be a little bit better.


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## Phil Istine (Oct 25, 2019)

Although you don't hear it much these days, I think Ruby Tuesday was one of the great songs.


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## Deleted member 56686 (Oct 26, 2019)

*1967 (part two).*







The Rolling Stones continued on despite the legal troubles. More recording of Their Satanic Majesties Request was begun and the Stones also would respond to their legal problems in the scathing We Love You that summer.

By now, Brian Jones was having his own problems. Like Jagger and Richards, he was in danger of going to prison and was seeking help. He was already unraveling psychologically and was probably starting to be a pain to Jagger and Richards in particular. He was still an amazing musician but he also seemed to be losing his grip on reality to an extent.

As for the music, well, it certainly isn’t their most critically acclaimed period and yet, there are some nice tracks during this fall, even on the universally panned Satanic Majesties Request. So here we go…



[h=2]US ALBUM-FLOWERS[/h]





This was (mercifully) the last of the London packagings. Mostly tracks off Aftermath and Between the Buttons, there are three tracks that had been unreleased in the UK (though Sittin On a Fence had been on the US  Aftermath).

*My Girl*: This was, of course, a cover of the Temptations classic. And no, the Stones weren’t going to be doing a dance routine. Needless to say this doesn’t work as a Rolling Stones song, especially when you figure on the strings, but they seemed to at least enjoy doing this.

*Ride On Baby*: Recorded in December 1965 (For Aftermath?), you can see how this harpsichord based song was kept off the album. It isn’t terrible and deserved to be on an unreleased track compilation somewhere, but no, certainly no classic.

*Sittin on a Fence*: I like this song. There are touches of country and folk on this track. Why they didn’t release this on the UK version of Aftermath I wouldn’t know. In any event, it’s a fairly mellow song that I like quite a bit.


[h=3]Single[/h] 
	

	
	
		
		

		
		
	


	




*We Love You*: This was Jagger and Richards’ comment on their legal hassles with prison sound affects and everything. It’s also famous for having Paul McCartney and John Lennon on back up vocals. This was a period where the two bands were crossing paths quite a bit. Brian Jones recorded on the Beatles’ You Know My Name (Look Up the Number) that same summer.  I really like this track and I would put it among my top twenty Rolling Stones songs if not my top ten.

*Dandelion*: This one is quite the paisley number and it may have worked on Majesties Request. It’s certainly better than the majority of the tracks (though not all) on that album but, as was the case in 1967, doesn’t really sound like the Rolling Stones. A nice piece of flowery pop though.


[h=1]THEIR SATANIC MAJESTIES’ REQUEST[/h] 
	

	
	
		
		

		
		
	


	




And here we are to what people may say is the low point of the Rolling Stones’ recording career. I’m not so sure; I actually do think this album is a little stronger than Between the Buttons, though obviously, that isn’t saying much. It’s obvious they were trying to record their own Sgt. Pepper and that’s probably the main rap against this album. Not only were they copying the Beatles (and practically everyone else doing paisley pop). It was so against everything the Rolling Stones stood for which was belting out pure blues based rock n roll.  Still, there are some good moments on the LP so let’s give it a whirl, shall we?


*Sing This All Together*: And it starts with a paisley ditty about singing together. I don’t know if this was supposed to be their intro ala Sgt. Pepper/With a Little Help From My Friends, but if it is, it doesn’t work for me. For the most part. The Rolling Stones and psychedelia really don’t mix.

*Citadel*: This is my favorite song on the album. Lyrically, it is apparently about an encounter with one of Andy Warhol’s transsexual friends in New York City. Musically, it’s probably the heaviest track on the album. Pity the album wouldn’t follow that lead.

*In Another Land*: The one and only Bill Wyman composition on a Rolling Stones album as far as I know. Of course it doesn’t really fit in with the Stones by Wyman’s own admission, but it’s nonetheless a pleasant tune. Wyman had some help with a pair of the Small Faces on this track.

*2000 Man*: The lyrics seem to be a bit futuristic given the title. Mostly an acoustic based track with an organ dominated middle eight, I can’t say I really get into this.

*Sing This All Together (See What Happens)*: I think this reprise of sorts was meant as some sort of freakout. It’s mostly instrumental though they do get one chorus in. In some ways this is better than the opening track but, honestly, I sense that they were just trying to find something to fill the album.

*She’s a Rainbow*: Possibly the most popular track on the album, it certainly reeks of paisley pop. A very tuneful song and not something you will ever expect from the Stones again. Probably a little too much with the strings by Stones standards but of course, a nice pop song for anyone else.

*The Lantern*: And just like that it segues to one of the weaker cuts.  I’m not sure what they’re trying to do with this one. It almost sounds like Sympathy For the Devil at points and then again it sounds like Pink Floyd or Magical Mystery Tour. In other words, I’m pretty confused.

*Gomper*: Probably my least favorite track on the album. I think they’re trying to do this Indian style.  Brian Jones is playing the electric dulcimer which he is apparently trying to get to sound like a sitar. Maybe they should have borrowed George Harrison.

*2000 Light Years From Home*: The other really excellent track on this album and probably the closest to what will be classic Stones later.  I sense this is about a trip on a spaceship, kind of reminiscent of Space Oddity a year and a half later maybe. It’s certainly spacey and psychedelic in its own way. This is my second favorite song on the album next to Citadel.

*On With the Show*:  Well, first the good news. It’s a better ending track than Something Happened To Me Yesterday was on Between the Buttons. Unfortunately, that’s not saying much. This maybe should have been the opening track given the title. Nicky Hopkins, a very established session musician, is on the piano here as well as on other tracks on the album. He will be a significant session player with the Stones over the coming years.


And so ends the period of the psychedelic Stones. Next year will bring in a new phase, a more permanent phase, even as one of its founding members was going into his own last phase.  1968 will be the beginning of the Rolling Stones’ classic period and I bet Stones fans are looking forward to it. I know I am  .


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## Deleted member 56686 (Oct 27, 2019)

*1968.*







1968 started auspiciously enough. Manager Andrew Loog Oldham, as it turned out, would have his own drug problems, and it would be left to Allen Klein to handle the legal entanglements in 1967. As a result, Oldham was forced to sell his interests in the Rolling Stones to the opportunistic Klein and he was now out of the picture.

In the meantime, Brian Jones’ mental state continued to deteriorate and he was becoming less and less dependable. Beggar’s Banquet would be his last full album with the Rolling Stones.

And Beggar’s Banquet, and the single before that, would be a signal for the Rolling Stones to get back to their roots. The psychedelic pop phase of their career was over and the classic Rolling Stones period had begun.


[h=3]Single[/h]
	

	
	
		
		

		
		
	


	





*Jumpin Jack Flash*: The Rolling Stones’ classic period starts here. The story is that Jagger and Richards were inspired by Jagger’s gardener, though you wouldn’t know it by the mildly violent lyrics. It certainly is a rocker in the Stones’ vein and it is one of their great songs. It also happens to be among my favorites. I actually got an A in my High School drama class lip syncing to this song.

*Child of the Moon*:  This might have been a leftover from the psychedelic era, albeit reworked, The lyrics are certainly a bit flowery. It’s a gentle song in many ways. Incidentally, they now have Jimmy Miller as their producer and you can tell the Stones seem to have eliminated many of the distractions that led to their confusing music styles the year before.


[h=1]BEGGARS BANQUET[/h]
	

	
	
		
		

		
		
	


	





This was the return to their roots album and they pull all the stops on this one. First there was the controversial album cover, complete with bathroom graffiti. The powers that be were not happy and the Stones had to release the album with a different cover. In a sense, this is the Rolling Stones’ White Album except for the band and album title in cursive.

In any event this truly is one of the Rolling Stones’ greatest albums. I personally rate this second only to the one that will follow this. It is easily the best set of songs to date and some of these songs have some very powerful lyrics.






*Sympathy For the Devil*: Like this. The album opens up with a bang to say the least. Certainly this is a song boldly bragging about the evil that is being caused (Who killed the Kennedys, when after all, it was you and me). This is arguably the best set of lyrics Mick Jagger ever wrote. The arrangement with the percussion and searing guitar work makes this one of the darkest songs not only by the Rolling Stones, but for anyone.

*No Expectations*: This country blues piece is poignant in some ways. Mick Jagger claims this was the last time he saw Brian Jones (who plays the slide steel guitar) being enthused about a Rolling Stones recording. Jones was becoming less and less attentive to the point where he’d eventually be thrown out of the band. For now though, the original five were together, and this is a stellar track.

*Dear Doctor*: This is very country obviously.  It even sounds like a classic song with the references to bourbon and the like. It sounds like they’re having fun on this one.

*Parachute Woman*: Hardly a lyrical masterpiece, this was recorded in record time according to Keith Richards. One thing I notice on the Time Is On Our Side site (where I’m getting much of the references) is that Brian Jones is not listed among the musicians on this as well as some other tracks. Kind of forbearing really.

*Jigsaw Puzzle*: More slide on this track.  This is another song that mentions violence to an extent, though maybe in more of a general way and less of a political way as in Sympathy. Nothing weak on this album so far by the way. Nicky Hopkins is again banging away on the piano.







*Street Fighting Man*: Another song of violence written by Jagger. He seemed to be very conscious of the riots and violence going on in 1968. This was influenced by the riots going on in France at the time.  I like this song. It reminds me a bit of Jumpin Jack Flash in some ways. Some different instrumentation on this one as Brian Jones brings back the sitar.

*Prodigal Son*: Definitely acoustic country blues here.  This is an old blues song written by someone named Robert Wilkens. I think I’m going to have to hear the original. This song really sounds cool.

*Stray Cat Blues*: Of course every time I hear this song, I think about the Stray Cats of the 1980s. Of course there is nothing rockabilly about this classic track. I think lyrically it could be about a teenage runaway. This is my favorite song on the album. It has a certain dark vibe to it and you can hear the blues influences on this.

*Factory Girl*: Another country influenced song with help from Dave Mason (on mandolin) and Ric Grech from Traffic. Watts plays the tabla on this one. It’s obvious the Stones still aren’t afraid to mix things up, but now they are doing so in a less commercial way. It makes for a nice tune.

*Salt of the Earth*: Well, fool me once. I had the impression this was actually a positive tune starting with a rare Keith vocal solo. It turns out I’m reading that it’s supposed to be quite cynical. Whatever, it’s a solid track and kind of anthem-like in its own way. It’s a solid way to end the album to be sure. They use a gospel choir on this track and you can feel the electricity on this one.


So the Rolling Stones’ comeback seems to be complete, except for one thing.

[h=2]FILM- ROLLING STONES ROCK N ROLL CIRCUS[/h] 
	

	
	
		
		

		
		
	


	




This was a concept Mick Jagger came up with. It was an idea for a televised concert with a circus setting, simple enough, right? He brought in director Michael Lindsay-Hogg and there were plans to air this on the BBC, assumably around Christmas. They brought in all kinds of guests from Jethro Tull to The Who to the one-shot supergroup, the Dirty Mac, led by none other than John Lennon himself (also featuring Eric Clapton, Mitch Mitchell on drums, and Keith Richards on bass). Jagger scrapped it after the show as the Rolling Stones themselves seemed to have been reduced to secondary status by the other artists, including Taj Mahal, who was very hot with underground audiences in those days.

It also signaled the last appearance of Brian Jones, sadly enough.  It was said that he really wasn’t with it.  Indeed, he would be barely around for Let It Bleed when the Stones would fire him and the tragedy, sadly wouldn’t end there.  As far as the Circus itself, it wouldn’t be released until 1996 despite much writing about it in various Rolling Stones documentaries. It was well worth the wait as it chronicles a very big part of Rolling Stones, and rock, history.

So now we have come to another crossroads in the Rolling Stones career. 1969 would be a year of changes yet again as Brian Jones would be out and Mick Taylor would be in. And the Rolling Stones would go back on the road again. One thing that would stay the same though would be the quality of their studio output as 1969 would creatively be their best year yet. How do I know? Well, stay tuned for the next installment to find out  .


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## Deleted member 56686 (Oct 28, 2019)

*1969.*







The deterioration of Brian Jones would come full circle this year. He was barely present at recording sessions and it got to the point where he would be asked to leave the Rolling Stones. In his place would be guitarist Mick Taylor, late of John Mayall’s Bluesbreakers, Taylor would be an integral part of the Rolling Stones for the next six years and would be prominent starting with Let It Bleed, which the Stones were in the process of recording in the summer of 1969.

On July 3, 1969, Brian Jones was found dead in his swimming pool at home. He would perhaps be the first unfortunate member of the mystical 27 club that would eventually include Jimi Hendrix, Janis Joplin, Kurt Cobain, and Amy Winehouse.  Even though Jones was no longer with the band, there was nonetheless a lot of shock. The Rolling Stones had already planned a free concert at London’s Hyde Park two days later, and now it would be a memorial concert for their fallen friend, Brian Jones.

1969 was also the year the Rolling Stones would get back on the road starting with a North American Tour that fall. Let It Bleed would be released in December and would prove to be one of the Rolling Stones’ most successful albums. December 1969 was also the month of the infamous Altamont Speedway rock festival, planned and headlined by the Rolling Stones. The sad incident, that led to the death of a young man at the hands of the Hell’s Angels, would be chronicled in a movie the Stones had commissioned originally in hopes of highlighting their North American tour. I’ll cover that more in 1970 when I talk about the movie, Gimme Shelter.

For now though, it’s time to cover the musical growth that I believed maybe peaked this year. It certainly was a fruitful one even with all the distractions mostly involving Brian Jones.


*Single*






*Honky Tonk Women*: I read a really good review on this classic somewhere. I don’t remember exactly what was said but I remember agreeing with the general viewpoint of it being a fun, country-western style romp. Very influenced by Hank Williams, this is the earliest track where you hear Mick Taylor on guitar. I like this song obviously; the question is where I exactly rate this. Historically, of course it rates very high, possibly the most significant Rolling Stones song since Satisfaction. Personally, while I rate it ahead of Satisfaction, it’s not quite as high as, say, Mother’s Little Helper or The Last Time. Great song nonetheless though.



*Interlude: Hyde Park memorial concert for Brian Jones*







On July 5, 1969, the Rolling Stones held their first concert in two years. It had already been planned, possibly as a way to introduce their new guitarist, Mick Taylor.  Brian Jones' death two days before would change the focus, however, as it would now become a tribute to their fallen friend. I’m listening to some of the concert on YouTube right now as I’m writing this and I have to say, they sound quite tight here. They likely debut Midnight Rambler, as yet to be released, at this concert, and it’s quite good. There is also some film footage and you can sense some sadness in Richards and Watts in particular while Jagger is trying to work his grief out by getting on with it, something he is successful at here. Most importantly, it showcases Taylor and emphasizes just how important he will be in this, the middle point of the Stones’ classic period.


*UK compilation album: THROUGH THE PAST DARKLY (big hits vol 2)*







This one is poignant for being the last photo taken with Brian Jones. Unfortunately they have the band with their faces up against some window, thus distorting their faces. Not a great way to go for Jones, I would think. A lot of the tracks had been released on singles only, so for album fans, this is an important addition to their collection. There is also the curious addition of an EP track, You Better Move On, as that clearly wasn’t a hit or even all that popular by Stones standards. Still, a nice collection overall and I can always remember a childhood friend of mine dancing to his black light like he was the new Mick Jagger doing Honky Tonk Women :lol:

*LET IT BLEED*








So here we are at an album recorded under some convoluted times. This is the last album that features Brian Jones, and barely just at that, only appearing on two tracks. Mick Taylor, who was brought in late, only appears on two tracks himself, leaving Keith Richards as the sole guitarist for most of the album. Basically he is doing double duty here for the most part. He certainly does it well and the album doesn’t suffer for it.

In fact, I rate this as my all time favorite Rolling Stones album, and it is actually in my all time personal top ten for anybody. Why do I rate this album so highly? Well, for starters this, in many ways, is a continuation, a sometimes heavier continuation, of Beggars Banquet.  You still hear their country blues influences on this album such as with the title track, and a great cover of Love In Vain (more on that later). They also get down and dirty with something like Monkey Man and even start out with one of their most powerful songs ever which we’ll be getting into in just a second. So for those reasons and maybe a few others, I have to rate this album as one of the true classics in the history of rock.

So let’s get on with it, shall we? 






*Gimme Shelter*: As I mentioned, this is one of the most powerful songs the Stones ever wrote. Written by Richards, this song has been described as apocalyptic by Jagger. I love the great guitar work and the female vocals at the beginning of this track, then you have Jagger doing his thing with Merry Clayton supporting with some amazing vocals. I not only love this track and not only is this my favorite track on the album; it’s my all time favorite Stones track, period.

*Love in Vain*: Also mentioned in my album heading, this is a cover of the Robert Johnson standard. I don’t think Johnson was all that known to rank and file blues connoisseurs in 1969, and only musicians like Eric Clapton and the Rolling Stones were aware of him. Maybe that is the charm of this country blues standard.  It’s a very pleasant listen and fits in with the mood of the album very well.

*Country Honk*: This is actually a countrified version of Honky Tonk Women.  This was the way Jagger and Richards had originally intended it to be and only had electric guitars added (courtesy of Mick Taylor) to make it sound more commercial as a single. I like this version. It’s a fairly simple arrangement  and I think a thirties era country musician (and this was the era the Stones were going for) would have been proud.

*Live With Me*: This song is notable for being the first track Mick Taylor is involved in. It also features a fantastic sax solo by Bobby Keys. The Rolling Stones would use sax on their following albums as well, notably on Brown Sugar. As far as the album goes, this is a switch off the country vibe and back into the hard rock vibe the Stones had going.

*Let It Bleed*: The title track of this masterpiece, this too is a country tinged number. It also features Richards doing double duty with the acoustic and slide guitars respectively. The lyrics seem a little risqué, especially at the end, but they get away with it. I heard this a lot on AOR radio in the seventies.






*Midnight Rambler*: This is one of the two tracks that has Brian Jones on it though just barely (he’s on congas). This is the longest track on the album and it goes into different speeds. It’s certainly a great track but honestly, I go to songs like Gimme Shelter and the two that wrap this album first.

*You Got the Silver*: Keith Richards is on lead vocals on this one.  Like many of the tracks here, it’s in a country vein. Richards seems to be in love with the slide guitar on this album. I like the sound to be sure.

*Monkey Man*: The other really heavy track on the album, this features some of Richards’ best guitar work. Lyrically, I’m not sure if this is a continuation of Sympathy For the Devil or simply a tribute to blues players in general. What I can tell you is that this song is my second favorite on the album next to Gimme Shelter. Fantastic tune.

*You Can’t Always Get What You Want*:  And we end with a song that was originally on the flip of Honky Tonk Women. Not recognized as anything significant at the time, this song sort of became an anthem for those who expected to have it all only to fall short after it was released as a single in its own right in 1973. It is significant in other ways because Charlie Watts would be benched for Jimmy Miller on the drums. Al Kooper is also prominent on this track. I like this song; it’s a fantastic way to end this album.


And so we’re about halfway through the Rolling Stones’ classic period.  The Rolling Stones will take a break from studio recordings in 1970 but there still will be a lot to write about as Mick Jagger will be embarking on a film career (he had already shot scenes for Ned Kelly in Australia) and two films featuring the Rolling Stones will be released including the chronicle that would become the story of the tragic events at Altamont. Plus, we’ll have a live album to review, so stay tuned.


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## Deleted member 56686 (Oct 29, 2019)

*1970.*








In some ways this would be a slow year for the Rolling Stones. Much of their next album had already been recorded but there would also be some more legal entanglements starting with the advice that they should move to France to avoid the tax man basically. For those who are crying they’re paying too much in taxes in the US, imagine having to fork out over ninety percent of your income as the Rolling Stones (and others) had to do in the late sixties.

So there was that. Then there was the final break with Allen Klein that would lead to some more legal issues, for Klein never met a lawsuit he didn’t like. I sense the Stones were probably regretting recommending Klein to John Lennon back in the day.

Anyhow, the Stones happily went on with their business, even if a studio release wasn’t in the works.  They would tour Europe in late 1970 and release their second legitimate live album, recorded at various venues during their 1969 tour.  There would also be the highly acclaimed film, Gimme Shelter, chronicling the same tour that ended tragically at Altamont the year before.

So now we have some quick reviews.


[h=2]Film-SYMPATHY FOR THE DEVIL[/h]
	

	
	
		
		

		
		
	


	





This is a strange film to be sure. Jean-Luc Goddard had the brainstorm to juxtapose the Rolling Stones recording their famous sinister track as a backdrop to a strange dramatic story. Originally released in Europe as One Plus One in 1969, this would be released with this title in 1970 in the US. Goddard, I think, was trying to do some sort of tapestry about the counter-culture on the backdrop of the Vietnam War. Either that, or maybe somebody was talking a little too much LSD. In any event, this isn’t a very good film.

Having said that, the parts with the Rolling Stones in the recording studio are quite good. You can see how they put together the song. Even Brian Jones, erratic as he may have been, seems to be contributing a bit here as well so, even if the film, well, sucks, it’s worth it to see the Rolling Stones at work and in their element.


[h=2]Film- NED KELLY (Mick Jagger movie)[/h]





Okay, I’m going to have to admit ignorance here as I’ve never seen the film so I’ll go with what I do know and with some help from Wiki. https://en.wikipedia.org/wiki/Ned_Kelly_(1970_film)

Mick Jagger was approached to star in a western for whatever bizarre reason, and he shot some scenes in Australia. Ned Kelly was apparently a bushwanger outlaw in nineteenth century Australia so I imagine there may have been some interest there. Again , I haven’t seen the film, but judging from the poor reviews and noting on Wiki that Jagger and at least one other cast member disavowed the film, I sense that I don’t want to. This is, nevertheless, Jagger’s first foray into acting, or at least his first film to be released.


[h=2]LIVE ALBUM-GET YOUR YA-YA’S OUT (The Rolling Stones in concert)[/h]





This was recorded at several venues during the Rolling Stones tour of North America in the Fall of 1969. I think I may have mentioned I’m not really a big fan of live albums in general, but you can certainly hear the energy starting with the first track. The first thing I notice is that the screaming throngs that were evident on Got Live If You Want It are nonexistent here. The audience seems to be more mature here, cheering between each songs as opposed to screaming all throughout. Jagger banters with the audience the way he couldn’t in 1965. The Stones are just getting back into their groove as a live band but it seems that they haven’t lost anything and, obviously, the addition of Taylor adds so much to the Rolling Stones as a live act. So, as live albums go, I kind of like this one.

[h=2]FILM-PERFORMANCE (Mick Jagger movie)[/h]
	

	
	
		
		

		
		
	


	




And this was Jagger’s second foray into acting. This movie I have seen and he’s quite good in this one. In one sense, he’s playing himself (his character is also a rock star). This was actually shot in 1968 so this is technically Jagger’s first film role.  His character is tied up with a mobster on the run (James Fox). It’s a quite interesting story to say the least but I have to say the performances (no pun intended) were quite good, especially from Jagger.

So I’m reading here https://en.wikipedia.org/wiki/Performance_(film) that the Rolling Stones were supposed to write the soundtrack for the film but Richards was apparently jealous after hearing rumors that Jagger and co-star Anita Pallenberg (Richard’s girlfriend) were having a roll in the hay for real, thus only Memo From Turner, in one bizarre video with Jagger playing an executive with his hair slicked back, is in the film. Interesting to be sure; still think it’s a good film though.


[h=1]FILM- GIMME SHELTER[/h]





The year ends with a fascinating film, directed by Albert and David Maysles,  that sheds quite a bit of insight on the Altamont tragedy the year before. It starts off eerily enough when the Rolling Stones, at a press conference, announce the plans for a free concert at Golden Gate Park in San Francisco. So, while the Rolling Stones are seen touring the US mostly, the powers that be in San Francisco are balking at the idea of hosting a free concert headlining the Rolling Stones. So, we see some crazy negotiations that lead to the Stones moving the event to Altamont Speedway on the East Bay.

And this where the fun begins, now it’s going to be a free festival and the Grateful Dead recommend the Hell’s Angels as the security force. All they have to do is pay them with beer. Now what could possibly go wrong?

Well we find out about midway through the film when one of the Angels gets out of control and knocks out Marty Balin of the Jefferson Airplane. Paul Kantner sarcastically thanks the Angel that knocked his bandmate out only to get a response from one of the drunken bikers. What fun this must have been.

So, what do the Grateful Dead do after having recommended these stalwarts of law and order to begin with? They cancel their performance like the brave soldiers they are. Actually, it might have been the right decision but it means the Stones are now going to have to do double duty. Except that have to wait until sunset because Bill Wyman is running late.

And it will be on the Rolling Stones’ watch when things really get out of control.  Several thousand are crowing the stage and things are getting unruly. Jagger is shaken enough that he stops Richards, apparently in his own world, from playing as he urges the crowd to “cool”. So, naturally, they play the next song in their set to placate the masses, Sympathy For the Devil (I should be bringing out my satirical pen for this). They have to end the song abruptly when things get violent again. After another plea to cool it, baby, the show goes on.  Everything is fine until Under My Thumb, and that’s when the infamous moment happens. A young man, Meredith Hunter, somehow had a gun since the Speedway didn’t furnish metal gun detectors. So, when Hunter pulled his gun out, one of the Angels politely suggested he shouldn’t do that and stabbed the man, killing him.  After that, the concert continues without incident, but the damage was already done.

And the film starts the same way it ended, with Jagger and Watts looking at the footage and lamenting it all. Even there you can see how shaken they are, even well after the fact.

So in one sense this may have been the low point (late 1969 obviously, not late 1970 when the film was released) of the Rolling Stones’ classic period. But it makes for one fascinating film and probably one of the best rock docs ever. It doesn’t get any more real at this, even if our protagonists are not necessarily seen in the best light.

So a slow year by Rolling Stones standards has ended. Some of the negativity of the past two years are now behind them and they will go on to have  another musically fruitful year. Of course they will be some things going on as well, but what’s new about that, right? So stay tuned as things get a little (yuck) sticky in 1971.


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## Deleted member 56686 (Oct 30, 2019)

*1971.*







By now, the Rolling Stones were proudly wearing the label as ,”The World’s Greatest Rock n Roll Band.” The Beatles had broken up, no thanks to the Rolling Stones themselves who had recommended their (The Stones) now ex-manager, Allen Klein. By now, they would be involved in legal entanglements involving the nefarious Klein. In the meantime, The Rolling Stones finalized their contract with Atlantic Records and now they had their own record label, known as (drum roll) Rolling Stones records.  Sticky Fingers would be the first of many Rolling Stones records to be realized on the label with the famous tongue logo.

This was another active year for the Stones both professionally and personally. While I’m only reviewing one whole album this year, it didn’t mean the Stones weren’t especially active. For this is the year they moved to France to avoid the taxman. Mick Jagger would get married to Bianca Moreno de Macias in St. Tropez.  And the first signs of Keith Richards’ heroin addiction would be evident. He would never get to the depths or the tragic circumstances that led to the death of Brian Jones, but it would lead to some legal troubles as the decade wore on.

For this year though, it was a year of touring and the year of the third of their four album classic period, so let’s see what we have, shall we?

[h=1]STICKY FINGERS[/h]
	

	
	
		
		

		
		
	


	





Sticky Fingers is one of the Rolling Stones’ most successful albums. It also features one of the most controversial covers with the jean photo equipped with a live zipper. You can imagine the murmurs among the establishment on that one, after all it was designed by Andy Warhol.  As far as the album itself goes, it continues the trend of the return to basics. Like Let It Bleed, it has some country influences and some of the same supporting musicians are used (Producer Jimmy Miller, Bobby Keys, Nicky Hopkins, Jack Nitzchke among others). Some people point to this as the best of all the Rolling Stones’ albums. As for me, I don’t think this is quite as good as Let It Bleed of Beggar’s Banquet. That doesn’t take away from the merits of the album though. This album has some very solid tracks and certainly beats something like Satanic Majesties’ Request.







*Brown Sugar*: The album, like many of the Stones’ albums, opens with a monster track. Brown Sugar is perhaps the Stones’ second most famous song next to Satisfaction. It’s also one of the most controversial songs, about a black woman slave with quite a bit of sexual innuendo. I can see how people could be offended by the lyrics, but the music can’t be denied. One of the highlights is a great sax solo by Bobby Keys. This remains one of the Stones’ most popular songs.

*Sway*: Keith Richards was apparently late so Mick Jagger is doing the rhythm guitar on this one. This isn’t a song I hear very often to be honest, but it’s not bad. It’s about here where I know that the album won’t be as good as Let It Bleed, however.






*Wild Horses*: A beautiful song and one of my favorites on the album. It’s a gentle, wistful song, kind of in a country-folk vein.  It’s also one of the more melodic Stones’ pieces.  Definitely a favorite track.

*Can’t You Hear Me Knocking*: We’re back to classic Rolling Stones rock on this track. It features something of a jam session at the end with another great Bobby Keys solo.  Jagger’s on fire with this one too.

*You Gotta Move*: This is a cover from Mississippi Fred McDowell from 1964 who, I have to admit, I’ve never heard of until now.  Lots of slide guitar on this one. Jagger is trying to sound like McDowell I think. It’s not bad.

*Bitch*:  Okay, first let’s address the title. No, this isn’t about some wayward woman like some of the songs on this album is. No, this is more about life being a bitch essentially. It moves along at a fast pace and the brass dominates this song. Horns are somewhat prevalent on the album as a whole and they certainly add to the hardness of the album.

*I Got the Blues*: There is definitely an Otis Redding vibe here. I may have mentioned that The Stones were quite big fans of Redding, and vice versa. I have no doubt Otis Redding, who perished in a plane crash in late 1967, was sadly missed and I sense this song may have been something of a tribute to him. Nice song.

*Sister Morphine*: This was actually recorded in early 1969, before Mick Taylor joined the band. Of course it’s something of a drug song that was technically written by Jagger and Marianne Faithful though she doesn’t get any songwriting credit. It’s certainly a moving song and gained a bit of publicity anytime someone would talk about Sticky Fingers. A great slide on this one from Ry Cooder.

*Dead Flowers*: This is my favorite song on the album.  It’s about as country as the Rolling Stones ever get so maybe, though not being a big fan of country music in general, I find myself really liking this song.  It’s a nice set of lyrics. I don’t know if the Stones could have made it as a country-rock act overall, but on this one instance, it really works.

*Moonlight Mile*: This track is missing Keith Richards.  This is kind of a slow moving song.  It’s unusual for a Stones last song on an album at this point in their history, mainly because I don’t think this song is especially that great. I mean it’s not bad, but it doesn’t seem to have the energy as the other tracks do. It doesn’t take away from the greatness of the album though.



So that’s it for 1971. 1972 should prove to be another interesting year in the Rolling Stones’ history. There will be some issues with Allen Klein and their old record label, Decca, and the Stones will be responding with two very solid compilations that I’ll cover in the next installment. Also, what may be their most acclaimed album, critically speaking, will be released in 1972. Will I agree with that assessment? Well, you’ll have to wait until the next installment to find out.


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## Irwin (Oct 30, 2019)

I'd forgotten how great that album is. I was in my early teens when it was released and used to listen to it a lot. Thanks for posting your review!


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## Deleted member 56686 (Oct 31, 2019)

*1972.*







This would be the last year of the Rolling Stones’ classic period. It was a year where they released their only studio double album set. It didn’t garner great reviews at the time, but it has since been quite acclaimed, but more on that later. This was in between two double album compilation sets, Hot Rocks and Hot Rocks Vol. 2, both well recommended for the casual fan. In personal news, they still had to deal with Klein and Decca was still releasing unauthorized compilations, which will not be reviewed here. Heroin seemed to be the magic word this year as Richards was trying to get cleaned up before the North American tour and Mick Taylor was now using. Meanwhile, when they weren’t touring, The Stones were still living in exile in France. Whether that made them richer in the end of it all, well, I don’t know. I do know they went on another North American tour, ostensibly to support Exile On Main Street. This time they brought saxophonist Bobby Keys along, and  they all no doubt had a good time.

So again, we have another busy year, so let’s see what we have, shall we?

[h=2]COMPILATION- HOT ROCKS  1964-1971[/h]





By 1972, the Rolling Stones had compiled quite a bit of quality recording with well over twenty singles as well as some quality album cuts. As a result, they were able to release a very definitive greatest hits package with a combination of hit singles like Satisfaction and Jumping Jack Flash to choice album cuts such as Under My Thumb and Gimme Shelter. I can’t say this is fully complete and, obviously, Abkco  agreed for they would release Hot Rocks 2 at the end of the year.

Yes I know, I said I wasn’t going to review any of the Decca/London compliations but the two Hot Rocks albums are exceptions.  I think these were the only two that were actually released with the Rolling Stones’ blessing as the other various comp sets were clearly money grabbing schemes. Honestly, until I started going onto Timeisonourside, I didn’t even know of all the compilations (I did know of Metamorphosis which I’ll also be covering) before I started this project. Anyway, Hot Rocks is a must for casual Rolling Stones fans, and maybe for the die-hard fans too.



[h=3]MISC- JAMMING WITH EDWARD (Jagger, Wyman, Watts,  Nicky Hopkins, Ry Cooder)[/h]






This was basically the result of a jam session between the noted five above in 1969. Obviously, this wasn’t meant to be any kind of a classic album of sorts but it’s clear they were enjoying this. No, it’s not something I would jump up and buy, and I had many chances as a kid, seeing the album in the cut out bins many a time, but as far as a listening experience goes, well, it isn’t bad. Jagger doesn’t seem to be singing a lot though.


[h=1]EXILE ON MAIN STREET[/h]






This double album set was the combination of unreleased material from the previous three years with some overdubs in early 1972.

At the time of its release, the reviews were rather mixed. Lenny Kaye of Rolling Stone magazine found the album uneven due to its sloppy work. That makes sense as these were apparently works in progress. After reassessing the album some years later, though, it is now regarded as the Rolling Stones’ crown achievement.

So allow me to disagree. I have to say I share Kaye’s original assessment of the album. Though there are great tracks on this album, which we’ll cover in a minute, this album certainly doesn’t have the continuity of the previous three efforts in this classic period and, I’m sorry, but you’re not going to get me to call this a classic album with a song title like Turd on the Run. Call me a prude, but really?

On the other hand, this album will be head and shoulders better than next year’s effort, Goat’s Head Soup, so let’s review in the spirit of that, shall we?




*Rocks Off*:  The suggestive title notwithstanding, this is a great track to start this double album set with all the major players involved like Bobby Keys and Nicky Hopkins. It was one of the later tracks to be recorded and was probably meant for this album. I like this track and I have to rate this as one of my favorites on the album. The Stones are continuing their streak of quality cuts to open up an album.

*Rip This Joint*: Keith Richards calls this the fastest song the Stones’ every recorded. It sounds kind of like a fifties style swing number. If it wasn’t so heavy, this could have been recorded by Bill Haley and the Comets, okay, maybe not that bad.

*Shake Your Hips*: This was originally done by Slim Harpo. This sounds a little bit like ZZ Top’s La Grange. I have to listen to the original recording by Harpo (not a big fan of Baby Scratch My Back but love Harpo’s 1957 single Got Love If You Want It/I’m a King Bee). Anyway, not a bad cover.

*Casino Boogie*: Apparently this was influenced by William Burroughs (don’t ask me, that’s what Jagger and Richards said on the web page). This isn’t one of the more impressive tracks in my opinion. It sounds kind of like a typical seventies album track, nothing special.






*Tumbling Dice*: I really don’t remember a stand out song on this album though there are certainly some great tracks. The Rolling Stones picked this one as the single for the album and it was a good choice.  This probably is my favorite song on the album but I want to withhold judgment until I hear the rest of the album (It’s been a while :icon_cheesygrin: )

*Sweet Virginia*: The Stones return to their country influences a bit here.  It’s laid back, kind of a bit of a honky tonk feel. Decent song for the most part.

*Torn and Frayed*: This doesn’t sound like anything special I’m afraid to say. I think they’re trying to do country here. It’s fair but again, nothing I’d jump through hoops for.

*Sweet Black Angel*: Man, I don’t know if this is a commentary on deep south racism or… yeah, looking at the lyrics, it probably is, offensive as some of it may sound. John Lennon recorded something that same year called Woman is the n*** of the world (I refuse to say or print that word). It was supposed to be a song supporting women’s liberation but, well, you can imagine the uproar. Anyway I have to admit liking this song, It does have a country blues feel to it.

*Loving Cup*:  This one sounds a little like You Can’t Always Get What You Want without the orchestration.  I’d rate this as above average. Not as good as You Can’t Always Get… but certainly nothing bad about it.






*Happy*: This was Keith Richard’s turn to shine on vocals. This was also the follow up to Tumbling Dice, or at least it was on the radio. The first thing I notice is that Jagger is clearly a better singer than Richards. Actually, I’d argue that Ringo Starr is a better singer than Richards but that’s for another thread I guess.

*Turd on the Run*: Sorry, but I think this title is gross.  I think they’re trying to do a bit of Bo Diddley here, but, honestly, it doesn’t work.

*Ventilator Blues*: Mick Taylor gets partial songwriting credit here.  It’s a decent little blues number basically. It certainly works within the album.

*I Just Wanna See His Face*: This was basically something of a jam session without Richards or Taylor that also involved Bobby Whitlock. I don’t think this is one of the more remembered songs on this album. Pity, with more work, this could have been a pretty nice gospel influenced tune.

*Let It Loose*: A slow paced song with some gospel style chorus.  This probably isn’t very well remembered either but it sounds nice. Dr. John walked in on the recording and he is part of the chorus.  Some nice brass as well.

*All Down the Line*: This track also got a lot of radio airplay. I honestly don’t like this as much as the other two “hits”, Tumbling Dice and Happy. I mean it’s not bad, just not a superior track in my opinion. 

*Stop Breaking Down*: The Rolling Stones are doing a Robert Johnson number here.  It’s not a bad cover though I suspect Johnson didn’t use drums or bass.  Nice slide guitar.

*Shine a Light*: This is more or less a soul song. I honestly don’t think this sounds much like the Rolling Stones in my opinion. At the same time, I can see where this might be an example as to why critics praise this album the way they do.

*Soul Survivor*: The album finishes strong with this track. I like the chord changes on this track. Okay, so is this my favorite track on the album? No, it’s still Tumbling Dice, but this is certainly in the top three or four.

And so ends my assessment of an album I consider good but not great (sorry critics) and as for Turd on the Run… uker:




[h=2]COMPILATION (US)-MORE HOT ROCKS (Big Hits and Fazed Cookies)[/h]








This double album set basically includes the hit tracks that couldn’t be placed on the original Hot Rocks plus some early tracks from 1963 and 1964. I especially like side four with the tracks that had been unreleased in the US. I still wonder why they didn’t add I Wanna Be Your Man though. No matter, it remains an important compilation for Rolling Stones connoisseurs.


And so ends another chapter in the Rolling Stones’ recording history. The classic period is over and we will now go into an era of mixed reviews that will include two albums I really like and at least one that I really don’t for the most part. The latter, I’m afraid, will be coming up next year, though it will have its moments, as will the Rolling Stones. So stay tuned until next time as we review 1973.


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## Deleted member 56686 (Nov 1, 2019)

*1973.*









This new phase in the Rolling Stones career, though I don’t even think they realized it as of yet, had some rumblings to be sure.  For one thing, there were already rumblings that Mick Taylor was unhappy with the Stones by this point, and was already considering leaving, something he would finally do in 1975. Then there was a new face in the Stones’ circle, none other than Ron Wood of the Faces. Jagger and Richards spent much of 1973 hanging with the Faces’ guitarist. Finally The Rolling Stones ended ties with producer Jimmy Miller as Jagger and Richards thought he was spazzing out apparently.  Miller’s problems and ultimate departure, I think, would negatively affect the lone album we’ll be reviewing this year. So here we go…

[h=1]GOATS HEAD SOUP[/h] 





Album one of the post classic period would also be the last one with Jimmy Miller at the helm. By this time, five years with the Rolling Stones had driven Miller to develop his own drug problem, and Jagger and Richards had to finish up with the production themselves. The end result is a rather uneven album that, while it has its popular tracks like Dancing With Mr. D, the only one I really feel close to is the big hit on the album, Angie. I hate to bring up my blog again but I listed three Rolling Stones albums as my disappointments of any given year. This was the third, this being for 1973. It still has its moments though  so with that…


*Dancing With Mr. D*: This is one of the more popular songs on the album and it isn’t a bad track, but it doesn’t seem to have the same power that other opening tracks have had in the past, especially on the previous four.

*100 Years Ago*: Billy Preston is featured on the clavinet here. I have to admit, this song isn’t all that bad. I actually like this better than Mr. D, in fact. Funny how you rethink things when you play an album again.

*Coming Down Again*: According to Richards, this was influenced by his heroin use. I can certainly respect the honesty about this track. This is a slow song and it is mournful as Richards himself described it. Again, this is better than I had remembered it the first time.






*Doo Doo Doo Doo Doo (Heartbreaker)*: This was the follow up single to Angie, most notable for its horn section. I guess I rate this song as okay, but I can’t this as much more than average.






*Angie*: One of my favorite Rolling Stones songs and certainly my favorite on the album. This ballad was rumored to be about David Bowie’s wife at the time, Angie Bowie, but both Jagger and Richards deny this. In any event, this is a nice gentle and moody tune.

*Silver Train*: The flip to Angie, I don’t find this track to be anything special unless you count the fact that Jagger is playing rhythm guitar on this one. Sounds like a typical Stones song for the most part but that’s about it.

*Hide Your Love*: Believe it or not, it’s Mick Jagger on the piano, He’s not bad but it isn’t an especially inspiring song, in my opinion. Like many of the tracks on this album, I have to rate it as only okay. I will say that at this point, Goat’s Heads Soup is the best of my three Stones disappointments and way better than Between the Buttons if you take away the hit single.

*Winter*: A somewhat slow paced song. And you know what I’ve noticed? There are no country tinged tunes on this album. Not that I’m a big country fan or even a country-rock fan, but the Stones albums seem a bit better with one or two countryish tracks on it. This isn’t one either, but for some reason, I wanted to bring that up. This song is pretty mediocre as far I’m concerned

*Can You Hear the Music*: And welcome to my least favorite song on the record. I think they were trying some Eastern vibe of some sort or maybe they’re trying to make you think they’re in Morocco, I don’t know. Anyway, yes, I can hear the music, and it sucks!

*Star Star*:  Well, this one ends on a nasty note. The title really should be starf**** since that’s what he says throughout the song. Jagger was accused of being anti-feminist on this one. Well, it wouldn’t be the Rolling Stones without a little controversy.

And so ends the saga that is 1973. What will 1974 have in store for us, more of the same perhaps?  How will they fare without Jimmy Miller? After all, they will have a new album out without his guiding hand. It will be interesting if the Stones can get the old magic back. Will they? Well, stay tuned for the next installment and find out  .


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## Deleted member 56686 (Nov 2, 2019)

*1974.*








The Rolling Stones took a break from touring this year and would get involved in their own individual things. Bill Wyman, in particular, would be active as he became the first Rolling Stone to release a solo album. He also admitted that he was considering leaving the Rolling Stones altogether but didn’t out of fear that the band might break up.

One person who did leave would be Mick Taylor who, after five years, said he had enough. Many years later he would admit that he didn’t want to not only expose his family to the drug culture that was surrounding the Stones at the time, but he had to find a way to kick his own personal drug demons which, thankfully, he would be successful at doing.

So basically we’re talking one Rolling Stones album as they at least stayed active in the studio, not unlike 1973 in that aspect. But first…

[h=1]Bill Wyman- Monkey Grip[/h]






Bill Wyman took advantage of a break after the latest American tour to record a solo album of his own. He certainly could write songs and could even sing, though he never did with the Stones, even as backup. He also noted that he didn’t write in the Rolling Stones’ style and that is evident on this album. He obviously is having fun on the record which pretty much sounds like standard seventies fare. I’m listening to this album now and I have to say I like it. He’s not trying to record the next Dark Side of the Moon or anything like that and why should he have to? Sometimes a straightforward album with some horns can be the way to go.


[h=1]IT’S ONLY ROCK N ROLL[/h]






And here we are at a crossroads, well, for me anyway. For starters, this is the last album with Mick Taylor as he would leave the band not long after its release. Also, I’m going to give away a secret as I haven’t liked an a Rolling Stones album as much as I liked this one since, and that includes the highly lauded Some Girls.  Am I saying this album is perfect? Of course not and I still rate four of their albums as better efforts overall, but this is the last album I can honestly say I can get into from start to finish (though Some Girls and Tattoo You will have some great moments).  So here we go…



*If You Can’t Rock Me*: The album starts again with no Rolling Stones classic (guess those days are over). Basically, this is a standard Stones rock song. Nevertheless,  I like this track and I think the basic simplicity of this straightforward song gives it its strength.






*Ain’t Too Proud To Beg*: This was the follow up to It’s Only Rock and Roll as a single, at least it was in the States anyway. This is the Temptations cover and it was a pretty popular song at the time. It’s a decent track with a solid instrumental break. Probably like the Temptations version a little better though.






*It’s Only Rock n Roll*: This one may be the last truly favorite Rolling Stones song for me. I’m talking the elite group now as I’ll certainly like some songs and even some albums in the future, otherwise, what’s the point in doing this?  Anyway, this song grabs me as soon as hear the intro. The funny thing is, this isn’t even the Rolling Stones; this was supposed to be a demo for a Ron Wood album, and Jagger and Richards along with Ian Stewart are the only Stones on this record. I think this may also be the first time Wood is on a recording with the Glimmer Twins.

*Till the Next Goodbye*: This is more or less a ballad, though not in the same vein as Angie. It’s a gentle tune in its own way and is a nice respite after the hard rocking first three tracks.

*Time Waits For No One*: This one is one of my favorites on the album.   It’s a wistful sounding tune with an extended guitar solo by Taylor. While it’s not the last track on the album, it still sounds like a nice swan song for Taylor to go out on.

*Luxury*: This opens up side two. This may be the weakest song on the album. I think they’re trying to do something in a Jamaican vein here. This strangely reminds me of the theme song of the Cartoon Network show, Superjail.

*Dance Little Sister*:  The flip of Ain’t Too Proud To Beg, this track isn’t as strong as some of the other tracks. Basically it’s a mantra of Dance Little Sister, Dance and it can grate on you if forced to listen to it. Let’s put it this way, a few times is fine, but you don’t want to be captured by the CIA and forced to listen to this repetitively. :lol:

*If You Want To Be My Friend*: Another song that reminds me a little of Angie, albeit with a different arrangement. I guess you could call this a love song. Whatever the intention, this is certainly a pleasant track.

*Short and Curlies*: Another one of those gross out song titles. It’s also one of those misogynistic tunes as well. Otherwise, it has a nice honky tonk vibe about it. Hate the lyrics but I can’t say I hate the track itself.

*Fingerprint File*: I wish I could say the album finishes with a bang. Unfortunately, it doesn’t. It’s not anything terrible, mind you and the album still remains a well-above average one for me. I’d say this echoes Undercover of The Night but that won’t be released for another nine years. Anyway, it’s listenable but that’s as far as I can go.


So that’s about it for 1974. It’s funny. 1974 is also the year of Watergate and Nixon’s resignation and I always think of It’s Only Rock n Roll when I think of Nixon’s resignation speech, mainly because it came out at around that time or maybe just a little after. Anyway, there won’t be anything new coming out in 1975 but Allen Klein’s bunch will be at it again and the third mishmash I’ll be reviewing will be released in 1975. Plus the Rolling Stones will be touring again, and with a new guitar player. Stay tuned for the gossip that will be 1975. Till then…


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## Deleted member 56686 (Nov 3, 2019)

*1975.*









Mick Taylor was now gone and the Rolling Stones were looking for a new guitarist. They tried out a few guitarists even as they were recording a new album that would be released as Black and Blue a year later. Finally, in April, the Stones announced that Ron Wood would be joining them on their next American tour. Soon, he would become the new full-fledged member of the Rolling Stones and he is with them to this day. As far as recording goes, well, there would be no new releases, instead Allen Klein would strike again with an album of old Stones’ material, much of it previously unreleased and ,as such, is being reviewed. Metamorphosis, as it would be called, would coincide with a short compilation alum authorized by the Stones covering their early seventies period. Let the fun begin!

Anyway, this will be a quick year to review, but it is still an important one in the Rolling Stones’ history.

[h=2]COMPILATION-MADE IN THE SHADE[/h] 
	

	
	
		
		

		
		
	


	




This was put together by the band, possibly in anticipation of what Abkco was about to release. Was it worth it? With only ten tracks, I don’t think so, especially when you figure they were only covering four albums between 1971 and 1974. Even for the casual Stones fan, it probably would have been more prudent to wait until they had released a couple more albums, but whatever. At least Mick Taylor got a few royalties out of it.



[h=2]COMPILATION- METAMORPHOSIS[/h]
	

	
	
		
		

		
		
	


	





So here comes the latest Stones album by Abkco (and the last Klein money making scheme I’ll be covering). By now Klein was having his own legal troubles between all four ex-Beatles now suing him, to charges of tax evasion, something that would land Klein in jail for two months eventually. So maybe this album was something of a tactic of his since he still owned the rights to anything the Rolling Stones did up until 1970.

In any event, this album is a mish mash of old material up to and including some outtakes for Let It Bleed. Half of the album isn’t even the Rolling Stones technically. Rather, they are recordings (mostly Jagger-Richards demos) that Andrew Loog Oldham arranged with Jagger singing and with occasional help from the other Stones. The other half of the album are mostly unreleased band recordings from the late sixties. Needless to say, it’s a pretty uneven album, but yet there are some decent moments here, so let’s see what we can come up with.

*Out of Time*: Eventually released by the Stones on Aftermath, this was a strings backed demo meant for Chris Farlow. In fact this is his backing track, only here, it’s Jagger on the vocals. I don’t particularly like Farlowe’s version so why should I like this one?

*Don’t Lie To Me*: An old blues standard that the Rolling Stones were jamming to circa 1964. It’s not bad. Obviously this was never intended for release but it probably would have been good enough to make the cut.

*Some Things Just Stick In Your Mind*: And in the ‘you learn something new everyday’ department, I was unaware this was actually a Jagger-Richards original. I’m very familiar with the Vashti Bunyan version, which I really love. Apparently Dick and Dee recorded this as well but somehow I have no desire to hear their version. As for this one, it has a country feel to it. With a little work, the Stones could have made something of this.

*Each and Every Day of the Year*: I’m guessing this was never intended for the Rolling Stones as it sounds nothing like anything they would have done. This sounds more like something closer to Jay and the Americans really. It’s okay and I guess Bobby Jameson (with the same backing) did okay, but, I don’t know. I mean in a way- ugh!

*Heart of Stone*: Now why Oldham bothered with this being that this was a big hit for the Stones, I wouldn’t even venture to guess. It’s actually a demo that is featuring Jimmy Page who, in 1964, was a sought after session musician. It’s a bit countrified and it’s actually pretty good. You can hear the Yardbirds-like lead guitar ever so briefly.

*I’d Much Rather Be With the Boys*: This was a demo meant for the Toggery Five, whoever they were. This was controversial for supposedly having homosexual overtones as they had the Toggery Five change one of the lyrics. Maybe Phil Spector has a hand in this? One thing for sure, Jagger and Richards were no Lennon and McCartney when it came to writing for other artists.

*Walkin Thru the Sleepy City*: This one I actually like.  This was a demo meant for the Mighty Avengers (who are these bands?).  Anyhow, this is a pleasant little tune that moves along quite well.

*We’re Wasting Time*: Another country style demo, this time meant for Jimmy Tarbuck (you’ve all heard of him, right?) . Maybe they should have saved this for Tammy Wynette though I suspect she wouldn’t have touched this with a ten foot pole, or even a twenty foot pole for that matter.

*Try a Little Harder*:  This is an early Stones demo actually. You can see why this one was never released. Give the Stones credit for having more taste than their producer at least. This does not sounds like the Stones at all. Some sax on this one.






*I Don’t Know Why*: Now were actually into the Rolling Stones part of the program. This one has a bit of history. This cover of the Stevie Wonder song was being worked on the night Brian Jones was found dead. A chilling thought when you think about it.  This was released as a single and it’s quite a decent rendition of Wonder’s album cut.

*If You Let Me*: Recorded during the Aftermath sessions, this one obviously didn’t make the cut. Not a great song by any length of the imagination, but maybe it could have ended up on a B-side somewhere. No matter, it wasn’t missed.

*Jiving Sister Fanny*: This wouldn’t make the cut either, this time for Let It Bleed. Not a great track, obviously, but it does feature a great lead by Taylor, who had just joined the band.

*Downtown Susie*: This one was penned by Bill Wyman. It does have some country-blues tendencies on this, but, yeah, Wyman compositions really weren’t meant for the Rolling Stones. Ry Cooder is featured on this track.

*Family*: Recorded for Beggar’s Banquet, it appears that Brian Jones is missing here (by now he was deep into his own personal problems). This probably was good enough to make the album. Maybe this could have been the flip to Street Fighting Man since No Expectations was on the album anyway, but, what do you do?

*Memo From Turner*: This one would end up being used for Mick Jagger’s movie, Performance.  Whether it had been originally intended as such (this was recorded in late 1968), I really couldn’t say. It certainly sounds a little too disjointed to be a Rolling Stones song. Steve Winwood and Jim Capaldi from Traffic may be on this track.

*I’m Going Down*: Recorded right at the end of 1969 (for Sticky Fingers?), this could have worked on that album or even Exile On Main Street. Bobby Keys is on sax here and it’s possible Steve Stills is on this track somewhere as well.


So even though it was meant to make Allen Klein a little richer, it’s a good collection of unreleased tracks and something any true Rolling Stones fan would want.  That wraps up 1975 in any event. What about 1976? It will be the year of the American Bicentennial though I doubt the Rolling Stones will care, being they are English and all.  There won’t be a lot going on, but they will have a new album out and it will sound a bit different from the previous efforts. It should be interesting to see what they are up to, so stay tuned to see how Ron Wood fares on his first album with the Rolling Stones.


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## Deleted member 56686 (Nov 4, 2019)

*1976.*







This would be yet another interesting year for the Rolling Stones to say the least. First there was the controversy surrounding their new album, Black and Blue, which featured an advertisement showing a bruised woman. This didn’t go over well with women’s groups who called a for a boycott of the band and the Stones’ defense of only joking came off as a bit insensitive. In other news, the Stones would embark on a tour of Europe, which included some shows behind the Iron Curtain. Keith Richards would be in the news as he faced legal troubles surrounding his drug addiction and, in the meantime, would lose his infant daughter who died of a respiratory ailment. Other than all that, things went swimmingly well.

So, recording wise, the Rolling Stones would release one new album, their first in two years. Indeed, rarely would the Stones release an album in consecutive years ever again and fewer bands were even recording albums annually anymore. It would be an interesting record and one that deserves analyzing, so let’s get on with it, shall we?


*BLACK AND BLUE*







I think it’s safe to say Black and Blue was one of the Stones’ more experimental efforts. Not that they lost the essence of who they were, they didn’t. But here they are trying out new forms such as funk and reggae. Sometimes it works very well and, at other times, not as much, but in the end, the Rolling Stones would record a rather decent effort. It wasn’t easy as they were trying out new guitarists before settling on Ron Wood. This was the first album, of course, after Mick Taylor left and he is clearly missing on this effort.

So, here we go.







*Hot Stuff*: We start off with a bit of a funky beat. I guess you could argue there is also a little bit of disco on this track, albeit a heavier version of the genre.  This definitely would have made is as an R&B song circa 1976. It’s a very good track and the Stones seem to be back at putting one of their quality songs at the beginning.

*Hand of Fate*: Jagger said something about this being about a Southern murder. One thing for sure, this is back to basic Rolling Stones. This could have fit in very well with Exile On Main Street, albeit without Mick Taylor. Wood isn’t in the picture yet and session musician Wayne Perkins is playing the lead here.  My favorite track on the album.

*Cherry Oh Baby*: This is a cover of a more recent reggae standard that would become famous by UB40 many years later. This is definitely the Stones’ stab at reggae and it surprisingly works.  This song got quite a bit of airplay on AOR radio locally.

*Memory Motel*: Keith Richards is sharing the lead vocals on this one.  Kind of a slow paced track, not unlike Fool To Cry later in the album. It’s pretty listenable but doesn’t sound like anything special.

*Hey Negrita*: Ron Wood has a lot of involvement on this track as he came up with the idea with Keith Richards. You might notice in a lot of the Rolling Stones’ performances in the late seventies, that Wood and Richards were becoming pretty close. In some ways Wood may have replaced Jagger in Richards’ mind, though not as a songwriting partner, obviously. As far as the song, it’s another stab at reggae but not as strong as Cherry Oh Baby.

*Melody*: Mick Jagger came up this with Billy Preston, who would record with the Stones on occasion. This kind of sounds like a Billy Preston song in a way. Unfortunately, I never really was that much into Billy Preston, though he was an excellent keyboardist.






*Fool To Cry*:  This was actually the hit single from the album.  A rare Rolling Stones’ ballad, it’s pretty sentimental by Stones standards. I can’t say I like this track as much as I do some of the others, but they’ve certainly done worse.

*Crazy Mama*: The album finishes with another standard Stones rocker. I like this. Vocally, it reminds me a bit of Tumbling Dice both with Jagger and the background vocals. Billy Preston is playing the female back up singer according to Jagger. This one’s up there with Hand of Fate and is a great way to end the album.

And so ends another year in the Rolling Stones saga.  1977 will be dominated by Keith’s drug problems and he will be risking jail that year.  There will be no studio albums and I’ll probably have my easiest year to write up yet (one live album which won’t take very long to review). So it won’t be much, but it will be the set up to 1978’s album, which will be one of the Stones’ more successful efforts, so stay tuned for the next installment


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## Deleted member 56686 (Nov 5, 2019)

*1977.*








This would be a critical year in the life of Keith Richards. For this was the year he would be busted for possession of heroin in Toronto and most of the year would be centered around that in Rolling Stones’ lore. Indeed there were even bets going out as in how long Keith Richards would even live.  As for the Rolling Stones as a whole, there would be no studio album this year, but they did have an ambitious live album in the works. With Richards being mostly unavailable for the mixing, that task was left for Jagger and Wood. In personal news, this would be the year Mick Jagger started dating model Jerry Hall as his marriage to Bianca was apparently on the rocks.

So, musically, it was mainly a year for live appearances when Richards was available.  By year’s end, they would be at work on a new studio album, but for now, we have this live set.

[h=2]LIVE ALBUM- LOVE YOU LIVE[/h] 






This is the Rolling Stones’ first live release since 1970 and third legitimate one overall. They made this a double album set.  The majority of the songs here are, not surprisingly, from the seventies though only Hot Stuff from their most recent album to date is on here. Nevertheless, the music is crisp and they haven’t seem to have lost a beat since Mick Taylor’s departure. Ron Wood is obviously a more than adequate replacement and, in some ways, will become an integral part of the Rolling Stones’ circle more than his two predecessors were.  In any event, this is probably their best live set yet.

But, of course, this thread is meant to review their studio albums, is it not? And we have a rather popular one coming up in 1978. I have memories of this one as several tracks would get quite a bit or airplay. Anyway, we’ll see what happens with things like Mick’s love life and the saga of Keith Richards. So stay tuned.


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## Deleted member 56686 (Nov 5, 2019)

Sustrai said:


> An instructor I had at The Defense Information School (DINFOS) was in the band that had the hit Let's Go! "clap/clap clap/clap/clap clap/clap/clap/clap Let's go!" (over and over - I couldn't raise this beauty from C1964 on YouTube, but some of you may remember it)...said, "





Was it this one?

[video=youtube;uxCIEHABB1M]https://www.youtube.com/watch?v=uxCIEHABB1M[/video]


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## Deleted member 56686 (Nov 5, 2019)

https://www.youtube.com/watch?v=uxCIEHABB1M


I found that single as a teenager at the Salvation Army of all places. Nice instrumental piece.


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## Deleted member 56686 (Nov 6, 2019)

*1978.*








The year started out with the saga of Richards’ legal problems that would finally be resolved by year’s end.  Bianca would file for divorce from Mick Jagger and  the Glimmer Twins would both find themselves on the gossip pages.

But this year was more than overtaken with the success of their new album, Some Girls, which would receive both critical and commercial success. On top of that, they would go on a North American tour to support the album. Of course, it’s not the Rolling Stones without a little controversy. There was the flap about the Some Girls album cover where they used female celebrities in cut out fashion originally. That had to be pulled after threats of lawsuits and now the cutouts were replaced by a “Pardon Our Appearance” cover. Still, the original album layout is the best known. There was also a TV appearance on Saturday Night Live that featured Keith Richards and Ron Wood French kissing on stage, well, sort of anyway. It certainly wouldn’t have passed muster on Ed Sullivan in any event.

So by year’s end, the Stones came out of it stronger than ever. Keith cleaned up and he ended up with a slap on the wrist in the form of community service. And the Stones had their most successful album in years. So let’s see what I’m thinking of that by the way. 

[h=1]SOME GIRLS[/h]
	

	
	
		
		

		
		
	


	




This would be a wildly successful album for the Rolling Stones and would signal something of a comeback of sorts as this was certainly their best received album since Sticky Fingers (Exile on Main Street still hadn’t been reevaluated yet). Four singles, three of them quite successful, would be culled from the album. Needless to say, this was something of a commercial effort. Some Girls is, in fact, the most commercial album they would ever do. It doesn’t mean they somehow sold out, because it’s obvious that they didn’t. But I think there was a thought that the days of Brown Sugar were now behind them. As for me, I’m not sure if I like this as much as even It’s Only Rock n Roll. Having said that, I do like this album even if I don’t sense a certain pattern here other than the songs are maybe a little catchier overall. I guess it’s a matter of evaluating the tracks one by one which is what I’ve been doing anyway, so…






*Miss You*: And we start out with the first single from the album. Considered something of a disco influenced number, it does certainly have a nice R&B type beat to it. John Lennon claimed his song, Bless You, was ripped off by this, but I honestly don’t hear the similarities. Not that Lennon was pissed as he thought music belonged to everybody.  Anyway, a good single to be sure.

*When the Whip Comes Down*: This was a little controversial at the time since it was alluding to the gay lifestyle. I think Jagger meant it in a positive way. He also noted he had hoped it would get airplay. Surprisingly, he got his wish; this was one of the more popular tracks on my AOR station. And it’s quite good classic Stones. One of my favorites on the album.

*Just My Imagination*: The Temptations cover, obviously. I think it’s hard for a rock band in the Rolling Stones’ vein to cover a Motown song, and especially the Temptations (they also covered My Girl). They make a good attempt at this though.

*Some Girls*: The Stones got in a little bit of trouble with Jesse Jackson over a line concerning black girls. I guess there are some stereotypes on this one, especially with the line about Chinese girls. One thing for sure, I don’t think Mick Jagger would be a favored guest at your neighborhood NOW meeting.

*Lies*: One of the lesser known tracks on the album obviously. No, I don’t rate this one as anything special either. I’m guessing they had to fill the album with something so that was the role of this track. It’s not terrible, mind you, just nothing especially inspiring.

*Far Away Eyes*: The Stones are at their countrified best here with this honky tonk saga. They even mention Bakersfield, which was something of a country music Mecca with the likes of Buck Owens, Merle Haggard, etc.  It’s a cool little track.

*Respectable*: No, this isn’t the Isley Brothers cover. Actually, this is a solid Rolling Stones rocker that might have worked well on something like Sticky Fingers in fact.  It’s a solid tune to be sure and it seems perfect for this album to be honest.

*Before They Make Me Run*: Keith Richards gets to sing on this one. And, once again, he can’t sing anywhere near as well as Jagger.  Nevertheless, this track pretty well works.






*Beast of Burden*: Arguably the most popular song on the album, I have to say that this rates as my favorite on the record as well. Keith Richards alluded to regretting being unavailable due to his legal entanglements.  Yes, it is one of their better songs, lyrically speaking, and there is a decent lead guitar in there to boot.






*Shattered*: And the album ends with a real barn burner and another hot single from the album. If Beast of Burden is my favorite track on the album, this one comes in at a close second. . It’s another one of those Stones’ rockers with the “shadoobie” background vocals to add to the mix. A very strong way to end the album.

But wait, there’s more.


[h=3]Single[/h] 
*Everything is Turning To Gold*: The flip side to shattered, this was partly written by Ron Wood. This kind of sounds like one of those garage rock sounds with the Em/A chords seemingly dominant. You know, all of these songs tend to sound the same and yet, I can’t get enough of them. Nice B-side. And a nice sax solo as well.


And so we  have reviewed one of the Rolling Stones’ most successful years.  There won’t be much going on in 1979 so I’ll be grouping that year in with 1980, the year of Emotional Rescue. It is about here when the Rolling Stones’ light will begin to fade a bit. Eventually they’ll be regarded as a bunch of old guys who can’t give up the torch, but that hasn’t happened yet. So, for now, stay tuned to see how emotional their rescue will be.


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## Deleted member 56686 (Nov 7, 2019)

*1979-1980*








1979 was significant as this was the first year there really wasn’t anything significant to cover recording wise.  Now Keith Richards’ heroin habit was being replaced by Ron Wood’s cocaine habit. At least Mick Jagger was cleaning up after seeing what Richards went through withdrawal wise.  As for Keith Richards, he would get involved with a side project called the New Barbarians with Ron Wood and old friends, including Bobby Keys. They went on a short tour of the US during some down time.  Late in the year, Charlie Watts would join Alexis Korner and Ian Stewart on a brief tour of Europe and Wyman was in a band of his own. All in all they stayed pretty busy in 1979.

This also included their recording sessions for what would be Emotional Rescue. That would go into 1980. Like 1979, there wasn’t a lot of touring with the Rolling Stones and, really, the only time they got together would be to promote Emotional Rescue and start working on their 1981 album, Tattoo You.

And with that, we have our one and only entry during this two year period.  Like Some Girls, it would be fairly successful though it doesn’t seem to have had the same staying power. Anyway, here we go…

[h=1]EMOTIONAL RESCUE[/h]





After the success of Some Girls which, commercially, was the Rolling Stones’ most successful album ever, there  was some great anticipation for its follow up, Emotional Rescue. And it would be successful, reaching number one globally and featuring two hit singles. Critically speaking though, it fell short of expectations despite more than two dozen tracks being recorded, some of which would be held over for Tattoo You a year later. Personally, I like to call this Some Girls Vol.2, but that’s probably a bit unfair. It doesn’t have the same consistency for one thing. It’s not a terrible album mind you, but this may be the first album where you sense their best days were behind them.

But, hey, do I look like a critic? Let’s review the songs, shall we?



*Dance (Pt 1)*: The Rolling Stones were still playing around with disco which probably wasn’t a good thing as disco was pretty well dead by summer 1980 when this album was on the charts.  Of course you could argue this was more meant to be funky… no, it’s pretty much disco.

*Summer Romance*: Not a nice song about what I guess is supposed to be a summer fling. Not a particularly inspiring song and may have been meant for filler, this despite having a large amount of tracks to choose from.

*Send It To Me*: This is another foray into reggae. Sometimes I don’t think rock bands in general do reggae very well. They, and by they, I mean the Stones, obviously respect and like the genre but I don’t think it plays well when interpreted by them (or most bands really). At least not at this point.

*Let Me Go*: Again, nothing especially inspiring about this. By this point, I’m beginning to think they’ve past the stage where they could come up with a barn burner like Brown Sugar or Rocks Off. Maybe it’s because they’re older or maybe they’ve all been through so much (and were in some cases going through so much).

*Indian Girl*: Mick Jagger claims this isn’t especially political a la No Nukes, but I have to wonder if he does have some sensitivity to whatever was going on South of the Border. This is a foray into country and, as with most Stones forays into that genre, comes out quite well. Some Mexican touches on the track including the return of the marimbas.  This is a favorite on the album.

*Where the Boys Go*: Shades of Where the Boys Are :lol: . Actually this is more of a typical ‘just wanna be with the boys’ type of song.  This is a fast driving song with some inspired guitar work by Richards here.

*Down in the Hole*: This is a nice bluesy piece that I think might have worked during the classic period, maybe on Exile On Main Street. I have to rate this as another favorite on the album. The second side seems rather superior to the first on this set. 






*Emotional Rescue*: The big single from the album and yet another foray into disco. This one obviously works as it was culled for single release and it is better than Dance (pt 1). Maybe this is supposed to Dance (pt 2). Hey what do I know; I’m not into disco, okay? So sue me. :lol:






*She’s So Cold*: I like to call this one Shattered Part 2. There are a lot of similarities between the two. It was even released as the follow up hit. This song definitely rocks and it’s a good choice for the follow up single. The lyrics are maybe a bit simple, but then again, I don’t think Jagger and Richards were ever trying to be Lennon and McCartney, not really.

*All About You*: This might be the first hint of trouble brewing within the band. This is Keith’s song. He even sings this, and surprisingly well. There was talk that this not very friendly song was directed at Mick, who isn’t involved with this in fact. This is a good example where some pain really adds a lot to a song. It a nice finish, if kind of a sad one, to the album.


And that about covers 1980. It would end on a sad note, of course (certainly for me it did) with the sudden death of John Lennon. That too would affect the Stones in terms of security as they had to have been thinking what if somebody decides to stalk Mick Jagger?  Life would go on though and our heroes would release one more album in the period with any semblance left of the classic era, long since gone officially but not totally disappeared- yet.

So stay tuned as we cover the last time the Rolling Stones do enough material to cover a whole year. See you then.


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## Deleted member 56686 (Nov 8, 2019)

*1981.*







This would be something of an interesting year in many aspects.  There would be a new album but it really wasn’t a new album if that makes any sense.  There were some old tracks that were originally recorded dating back to Goat’s Head Soup. What was missing was vocals and Mick Jagger would spend the early months writing lyrics and adding vocals on what would become Tattoo You which would be released late that summer.

There would also be a tour late in the year, this despite some tensions within the band. Tensions would exist between the Glimmer Twins for much of the decade in fact. Add to that Ron Wood’s continuing problems with cocaine, and you have a rather intriguing year. Of course, as well all know now, the Rolling Stones would survive the rather difficult decade. In 1981 though, they couldn’t know the future and there was even the speculation that the Rolling Stones could split.

Musically, this is the last time I’ll be reviewing releases within any given year. Future chapters will cover periods of several years as recordings would become less and less frequent.  Meanwhile, lets’s see what we have for 1981.

[h=2]COMPILATION: SUCKING IN THE SEVENTIES[/h]





Basically, this is a compilation of mostly album tracks from the previous four albums, some of which were edited. Yes, it does include Shattered and Beast of Burden, but was the compilation really necessary? Wait, we have an unreleased track, now I feel better.

(new track)
*If I Was a Dancer*: Otherwise known as Dance (Part 2). Did I mention disco was pretty much declared dead by now? Of course, what do I know? I was working at a used record store in 1981 and not only couldn’t we sell anything disco, you had to beg people to take a Kiss record for a buck- and you had to pay them. Well, as know, both Kiss and disco would be rehabilitated in time but this song still sucked in the seventies (thank you, I’ll be here all week).



[h=1]TATTOO YOU[/h]





As mentioned, this was basically a collection of unreleased tracks with some overdubs by Jagger. They were able to pass this off as a new album and, in a sense, it was.  It also received some surprisingly good reviews, maybe the last Rolling Stones album that would receive such universal acclaim. Future albums will have its ups and downs (Steel Wheels will notably be well received for example), but none would receive the same love and respect this album would get.  As for me, yes, this is a pretty good album, certainly better than Emotional Rescue. And it did feature three singles from the album so it must not be too bad, right?






*Start Me Up*: Believe it or not, this was meant to be a reggae song. It was recorded during the Some Girls sessions, or at least the basic riff was. Jagger would add some rather simplistic lyrics later and the song would be turned into a real Rolling Stones rocker. It would prove to be a rather big hit for them and is a great way to open up the album.






*Hang Fire*: Keith Richards called this a slam about England basically (they never got over their tax squabbles). Whatever, this  is another rocker in the Stones classic vein, also conceived during Some Girls.  Great track to be sure.

*Slave*: This one was recorded during the Black and Blue sessions. This one is notable as Pete Townsend is on the track. This is a pretty funky number and you wonder if this could have been on Black and Blue with a little more work which, of course,was what was done here for this album.

*Little T&A*: Probably not popular with women’s groups I’m sure. Nevertheless this is a real rocker from the Emotional Rescue sessions. Some great guitar work and some surprisingly good vocals from Richards. One wonders why it didn’t make the cut on the rather average Emotional but, what do you do?

*Black Limousine*: Ron Wood is listed as a co writer on this, recorded initially during Some Girls. This is more standard blues in terms of form.  Not a bad song, but the previous tracks are a little better.

*Neighbors*: Jagger evidently wrote this one in sympathy for Richards, who was apparently having problems with neighbors.  This was originally recorded for Emotional Rescue. Unlike Little T&A, this one wouldn’t have been missed.  Some nice sax though.

*Worried About You*: Originally done for Black and Blue, Jagger is doing a bit of a falsetto here. Probably the weakest track on this album so far and I can see why it was kept off Black and Blue.

*Tops*: This was recorded during Goat’s Head Soup and, as such, has the long gone Mick Taylor on guitar. Obviously an R&B influenced song, it really isn’t any better than some of the other tracks on Goats Head Soup. Not terrible, just not very inspiring and kind of un-Stones like.

*Heaven*: Richards and Wood are missing from this Emotional Rescue era track. I guess maybe they were hanging out with the New Barbarians or something. I heard this song in a movie somewhere I think. I definitely like this one and wonder why this wasn’t on Emotional Rescue. It’s kind of dreamy in a way, a bit different from the standard Stones fare and a pretty pleasant diversion at that.  Jagger would later deny this was written as a tribute to John Lennon as was the rumor apparently.

*No Use in Crying*: Another one with Wood listed as a co-writer,  this one sounds a little sixties influenced in some ways, at least in terms of the melody. Not one of stronger tracks on the album and doesn’t work as well as Heaven does.






*Waiting On a Friend*: Also recorded during Goat’s Head Soup, Jagger worked on the lyrics and came up with maybe the best song on the album. It’s a telling video as well which shows Jagger and Richards hanging out as one was waiting on the other. Poignant considering the two would be feuding in the years to come.


So that covers 1981. From here on, there won’t be much more than an album in any given year, so we’ll be grouping years together and thus, we’ll only have a few more chapters yet.  So next,  we’ll be covering up until the mid eighties. Will Jagger and Richards survive without killing each other? Well, stay tuned and find out.


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## Deleted member 56686 (Nov 9, 2019)

*1982-1985.*








Things were different now as the Rolling Stones were approaching their forties and yet things never seemed to change. Now it would be Charlie Watts that would develop a drug dependency though it wouldn’t be as serious as it was with others. Still it was something that would affect his personality for a time. The Stones as a whole were off on different projects. Watts was still with his side project, Rocket 88, Richards would be off doing his own thing, and Wyman was falling in love- with thirteen year old Mandy Smith :shock:

And Mick Jagger would be writing songs for his first solo album. Was there writing on the wall? There were stories that Jagger and Richards weren’t getting along well in the studio (There is one studio album during this period). No one would have been upset if this was it for the Rolling Stones, some may have even been relieved. After all, they had been together more than twenty years by this point.

This does cover four years so, although I’m only covering one album in its entirety,  we also have yet another live album, a live movie, and Jagger’s solo album, which will be a general review. So buckle up kiddies, it’s going to be, well, you’ve seen the movie, right?

[h=2]Live album - STILL LIFE (1982)[/h]






Honestly, I didn’t know what to expect from the Rolling Stones live circa 1982. By now, they had more or less done it all. They weren’t quite to the point where they had to go on as an oldies act, though there are certainly some oldies on here. I want to say here we go with yet another live album (When you’ve heard one live album- you’ve heard them all… ). That, of course, is true, but the energy that is the Rolling Stones  is still enduring and that says a lot for men that are now approaching forty (and over forty in the cases of Wyman and Watts).


*Going To a Go Go (live)*: This one deserves special mention as they released this one as a single for whatever reason. Of course, this is the Miracles cover. If this had been on an album I would have asked if this was really necessary, but you expect bands to play their favorite songs when they’re live. It keeps their interests up and it’s a treat for the fans as well. So I won’t knock this one except why on earth would they release this as a single and not just have kept it on the album?

[h=2]Film- LET’S SPEND THE NIGHT TOGETHER[/h] 
	

	
	
		
		

		
		
	


	




I have to plead ignorance here as I haven’t seen the film, but since this a part of Rolling Stones history though I should mention it.  I do know that this is a live film basically showing the Rolling Stones in concert and apparently not much else. The review by Roger Ebert  https://www.rogerebert.com/reviews/lets-spend-the-night-together-1982 mentions liking the concert but wanting a bit more. He mentions clips of  symbolic images of starving children for example and is kind of turned off by it. It does make the Stones come off as pretentious if that’s true. I did see Rattle and Hum, the U2 concert film, and I found parts of that to be pretentious, good as that film was overall. Anyway, why see a concert film if you can see the Rolling Stones live? (assuming you have a first born to make a down payment with for the concert tickets- the Rolling Stones aren’t cheap :lol: )
[h=1]UNDERCOVER (1983)[/h](Album cover may be a little too risque for the kids :lol: ) 


Undercover was the Rolling Stones first bonafide album in three years when you figure Tattoo You was an album of unreleased tracks.  There were tensions between Jagger and Richards during the recording of this album. Jagger wanted to experiment with contemporary sounds while Richards wanted a return to their old blues roots.

In some ways this is a sad album, mainly because there is nothing to remind you of the classic Stones, something Tattoo You did.  But, if this is the new direction for the now aging Stones, it isn’t half bad.  I won’t rate this as high as one of the classics obviously, but it isn’t a stinker either or even a meh. Anyway, here is my evaluation of the individual tracks.






*Undercover of the Night*: Well, the first thing you notice is that it’s definitely the 1980s. How do I know? The electric drums open up the album. This is the single from the track as well. It’s a decent track and deserved to be the single, but the video is a bit cheesy.

(again too risque)

*She Was Hot*: This kind of sounds like a new wave style song, or I guess post wave by now. At this point Jagger seems to be winning the creativity war with Richards, though there is the rolling piano mixed in with this track. I guess it’s a combination of the two directions here, sometimes it works and sometimes it doesn’t.

*Tie You Up (The Pain of Love)*: Boy, these titles.  Apparently this one caught some flak with some feminists (so what’s new?).  For not having had listened to this album all the way through in all honesty, it doesn’t sound half bad so far.

*Wanna Hold You*: Keith Richards wrote this as a dumb pop song basically. It’s intentionally a rip off of I Wanna Hold Your Hand for the most part. It’s pretty nostalgic in a lot of ways. It’s not bad and kind of sweet in its own way. Not really Stones-like though.

*Feel on Baby*: Jagger is definitely winning the day here with this reggae induced track. You have to admire his desire to explore new sounds, but it doesn’t seem to work in the framework of the Stones, or at least not circa 1983.

*Too Much Blood*: This was the third single from the album.  There is a nice horn section here, There is a bit of disco here though it it’s really more of an eighties dance track.  It’s actually not bad. If you can separate this from a typical Stones album, I think you’ll be okay.

*Pretty Beat Up*:  This is basically your typical break up song. That’s okay, Mick Jagger, who wrote most of the lyrics in general (Richards wrote much of the music), wouldn’t be confused with Bob Dylan.  A nice horn instrumental break on this one.

*Too Tough*:  This sounds more like vintage Stones here.  I think there may be a little too much production on this one; it sort of water downs the hardness a bit. I doesn’t hide Wood’s searing guitar solo though.

*All the Way Down*: Needless to say, this one’s a little risqué, so I guess it’s safe to say the Stones haven’t quite lost their touch in that regard. It does make you wonder why their audiences tended to be more male than female though :lol:

*It Must Be Hell*: Jagger is trying to be socially relevant here. I’m not sure if he’s taking a slap at organized religion here or at least the televangelists which were becoming pretty prominent by now. It’s certainly unusual for the Stones to record a song like this, especially when you’re hearing the old Honky Tonk Women riff in the background. It’s a strange song lyrics wise, but I admit I have to say I like this.

[h=3]Single[/h] 
*I Think I’m Going Mad*: The B-side to She Was Hot, this sounds a little like Waiting For a Friend with the horn arrangement.  It also sounds like something you’d hear in the eighties. Certainly not anything bad, but probably belongs right where it is as a B-side.

[h=2]1985[/h] 
[h=3]Mick Jagger solo album- She’s the Boss:[/h] 
	

	
	
		
		

		
		
	


	




One of the issues causing tensions between Jagger and Richards was the fact that Jagger wanted to record a solo album. It was like the Rolling Stones weren’t good enough for him. Ironically, Richards would realize the same thing and venture out with a solo album of his own. As for She’s the Boss, this was part of the perks with their new contract with CBS records where the Stones would be able to work on solo projects. Up to now, the only one who had done anything solo was Bill Wyman and one would have thought he would jump at this chance. Instead, it would be Jagger and it would cause some tensions within the band to be sure.


As far as the album itself went, it was pretty typical eighties fare. It would get mixed reviews though it did fairly well commercially, though he had to weather a plagiarism lawsuit from Just Another Night (Jagger won). Anyway, the album is okay, I guess, but he should have stuck with the Stones.  :neutral::neutral:



[h=3]Jagger and Bowie Dancing in the Street:[/h]
	

	
	
		
		

		
		
	


	




I’ll forget the silliness of Jagger and Bowie doing the Martha and the Vandellas cover in of itself. Let’s talk about the video instead. Yes, friends, this has been mentioned in those worst videos ever shows. There are parts where you’re wondering if these two friends are going have a romp of sorts in the middle of the video.  They also don’t dance very well, sorry, Dave. uker:


So ends a rather interesting period. An even more interesting period is looming though. For one thing, no one knows if the Stones will be staying together or if Jagger and Richards are on the verge of a classic Lennon-McCartney style feud. Richards, too, will say, “sod it” and record his own album, one that will receive better critical acclaim than Jagger’s did. Despite all this, it will be a fairly active five years so stay tuned for the next installment.


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## Deleted member 56686 (Nov 10, 2019)

*1986-1990.*







The hostilities between Mick Jagger and Keith Richards hit a boiling point during the making of Dirty Work and there was thought, given Jagger’s  somewhat successful debut album, that Dirty Work could have been the Rolling Stones swan song.  Even though the Stones would release an album in 1986, Jagger was pretty much off doing his own thing, releasing his second solo LP in 1987. Not to be undone, Richards would release an album of his own in 1988 as well  co-produce a stage documentary featuring his hero, Chuck Berry. Hail, Hail, Rock n Roll was intriguing as we see the legendary Berry not being the nicest of fellows and always seemingly at odd with Richards, who nonetheless let him get away with it. It’s amazing how much abuse you can take from your heroes.
There were other side projects going on as well such as the Charlie Watts Orchestra. Ron Wood was recording material that would remain unreleased, and Wyman, well ,he was still robbing the cradle- literally.

Things would work out in the end, of course. Their beloved sixth Rolling Stone, Ian Stewart, had passed away in December 1985 which left sort of a void, probably much bigger than Brian Jones had. Maybe that was part of the acrimony that lasted the better part of two years. But in 1988, Jagger wanted to bring the band back together and, in 1989, a new album was out and all seemed well with the world.

So, this will actually be a fruitful period for the Stones, who will also be Rock n Roll Hall of Famers by the end of this period. Yes, they had been together that long. Anyway, here we go…


[h=1]DIRTY WORK (1986)[/h] 
	

	
	
		
		

		
		
	


	




Needless to say, this album was recorded under rather contentious circumstances as the two main players were feuding over the band’s direction. Keith Richards was in the KISS (keep it simple stupid) camp while Jagger wanted to explore different sounds. The result was something of an uneven mish-mash which garnered less than favorable reviews. Even the Stones themselves didn’t like the album much in retrospect. I haven’t heard a lot of this album until now (the two singles basically), so most of my reviews will be as I listen to these songs for the first time.







*One Hit (to the body)*: This is one of the songs I have heard. I also saw the video where it seems Jagger and Richards seem to be getting their anger out on each other. This is quite good actually. Interesting lyrics to be sure and a nice acoustic touch from Woody. Jimmy Page and Bobby Womack are also on this track.

*Fight*: Bill Wyman is missing on this track and Ron Wood is at bass. This is, not surprisingly, a fairly violent song. Richards wrote this when he was mad at Jagger apparently.  A typical Stones rocker. The album isn’t bad so far.






*Harlem Shuffle*: The other song I’ve heard. This is the Bob and Earl cover and the Stones do a pretty decent job on this one. One thing about the Rolling Stones is that they’ve always been good at paying homage to the music they especially liked.

*Hold Back*: Where the hell is Wyman?  Not especially melodic, something the Stones weren’t known for anyway to be fair. But this doesn’t sound like a song they worked very hard at. It just seems a little formulatic to me.

*Too Rude*: This was a song Keith Richards heard in Jamaica. Only he and Ron Wood (who plays drums) as well as Jimmy Cliff are on the track. This is an odd track given that Jagger would have been the one who would have wanted to do reggae at that time. It’s not bad having said that.

*Winning Ugly*:  This definitely sounds like something you might have heard on Top Forty radio in 1986. In other words, it’s not exactly a classic. It’s almost like Mick Jagger was listening to too much Huey Lewis and the News. Worst song on the album so far, maybe the worst since Can’t You Hear the Music off Goat’s Head Soup.

*Back to Zero*: This might be worse. Another song meant for Hot Hits radio I guess. Either that of Mick Jagger thought he was recording his solo album still (he was actually in between his two notable solo efforts).

*Dirty Work*: Wow, Bill Wyman’s on this track.  It was noted that it was rare for all five Stones to be in the recording studio at the same time on this album. Maybe it was time for the boys to finally pack it in.  At least the album has gone from pathetic to fair with this track. Not a great track, but at least listenable.

*Had It With You*: Keith wrote this one too- guess about who? This song, probably more than any other track, emphasized the problems the Glimmer Twins were having with each other.

*Sleep Tonight*: This is another track with Richards and Wood as the only Stones present. Would love to know the whole story behind this as Wyman was AWOL for most of the album and Watts was in the midst of his own personal demons which was causing marital strife. Where Jagger was, who knows? Anyway, this is a ballad more or less. Doesn’t sound very much like the Stones though it isn’t the worst thing they’ve done. Of course it isn’t the best track either.

Okay, so I’ll make it official- though there are a couple moments on the first side, I have to rate this as the Stones’ worst album to date. Maybe Steel Wheels will fare better (it did garner better reviews).


[h=2]Mick Jagger album- PRIMITIVE COOL (1987)[/h]





So with the Rolling Stones on hiatus, perhaps permanently, Mick Jagger went to work on his second album. It seems a little better than the first album, but it still boils down to typical eighties pop. Mick is clearly missing his Rolling Stones buddies here. Oh, well, at least Mick can rest knowing that his former partner wouldn’t have the guts to top him. 



[h=2]Keith Richards album- TALK IS CHEAP (1988)[/h]





Except that he does. Realizing the Stones may possibly be a thing of the past, Richards got together his own band, calling them the X Pensive Winos and went out to record his own solo piece.  So while Jagger was being  panned for trying to maintain his image, something that reflected not only on parts of Dirty Work, but especially on his two to date solo efforts, Richards was being lauded by critics and fans. One critic noted that Talk Is Cheap was the best Rolling Stones album in years, no doubt his own swipe at Jagger.

And this certainly is as good as anything the Stones did post Mick Taylor. He has a solid supporting cast with the always dependable Bobby Keys along with Steve Jordon, Charley Drayton, and Ivan Neville among others in the X Pensive winos.  One thing for sure, this album had to have gotten Jagger’s attention because next thing you know, he was calling a meeting to get the Stones back together.  :grin::grin::grin::grin:

[h=2]COMPILATION: THE ROLLING STONES SINGLES COLLECTION: THE LONDON YEARS[/h] 
Yes, this was yet another Allen Klein production. Apparently a  short prison sentence for tax evasion couldn’t keep him down. Seriously though, this is perhaps the best of the Rolling Stones compilations as it covers all the singles released in the UK from 1963 to 1971. You don’t have I Wanna Be Your Man? You can get it right here on this three disc set.  Hoe about The Singer Not the Song? Yep, it’s here. How about Bitch? Well, no because ol’ Allen didn’t have the rights to that, but Wild Horses is because Allen gets to share that with the Rolling Stones. Anyway, this is a must for fans of the sixties Stones.

[h=3]Single[/h] 
*Fancy Man Blues*:  So the Rolling Stones were back as if nothing ever happened. This is the flip to Mixed Emotions. This is done as a typical blues song. Wyman was said to have thought it was Jimmy Reed. It’s not bad, certainly better than most of Dirty Work had been. They sound happy here again.


[h=1]STEEL WHEELS (1989)[/h]
	

	
	
		
		

		
		
	


	




After a meeting in 1988, it was decided that the five Rolling Stones would indeed get together for a new album and a tour. Two years of not seeing each other had made the band members more fond of each other and it would reflect on this album, which would be their most highly regarded effort in years. Watts had gotten himself cleaned up and Jagger and Richards buried their hatchet at long last. They even had nice things to say about each other’s solo efforts.  This would be Bill Wyman’s last go round with the Stones however as he would unofficially leave after the Steel Wheels Tour the following year. One senses that he thought he was getting too old for this (53 at this point). Anyway, this was quite a harmonious effort and possibly their last truly great moment in the sun as future albums would net them the rap of being too old to rock n roll so to speak.

*Sad Sad Sad*: Yes, the Stones are definitely back.  This is a rocker in the classic tradition. If this is the comeback album of sorts, it’s a good way to start it off.






*Mixed Emotions*: This was the big hit off the album. I honestly didn’t expect much of this album judging from this song. I mean it’s a good cut, but it doesn’t truly sound like classic Stones. Still, it’s certainly catchy and I can see why this song was successful.





*Terrifying*: This is kind of in an R&B style done in the eighties way. Honestly I can’t get into the mainstream rock pop that was popular in the eighties. You know, like something you’d hear on a movie soundtrack at the time. That’s what this song sounds like. Then again, maybe I’m missing Brown Sugar like I’m sure a lot of Stones fans were.

*Hold On To Your Hat*: One might notice that Mick Jagger is playing rhythm guitar a lot more at this point. He has been for a while actually, especially since Bill Wyman was still often missing at the recording sessions.  This sounds like a rockabilly romp here. This is a pretty fun song. Yes, I can see how the reviews were generally positive. Some of Watts’ best drumming here.

*Hearts For Sale*:  This one’s a little more slower, a slow medium pace actually. It’s a tight piece. Not a song that really stands out. Fits in with the album basically.

*Blinded By Love*: The first person I thought of was Jimmy Buffet when I heard the opening chords. It’s kind of in his style. Mind you, I’m no fan of Jimmy Buffet, he kind of bores me more than anything else, but this is a pleasant enough track. It’s kind of countrified too, something the Stones hadn’t done in quite a while.






*Rock and a Hard Place*: This was the other hit from the album and one of the best rockers. The Stones themselves find this one reminiscent of Start Me Up. It certainly sounds like late seventies Stones.  Probably the best song on the album.

*Can’t Be Seen*: Keith Richards is doing the vocals on this one. He actually sounds pretty good here surprisingly enough. Pretty ordinary lyrics though and a pretty pedestrian song. But the vocals do surprise me here.

*Almost Hear You Sigh*: Keith Richards actually wrote this for his solo album. This is supposedly influenced by Curtis Mayfield. One thing you notice here, is that after all these years, the Stones seem comfortable in their own skin, whatever style they’re trying to play (soft soul in this case I think).

*Continental Drift*: This song is reminiscent of a period when Brian Jones was experimenting with different sounds, this one having something of a Moroccan vibe.  Nice track. I hear a little bit of We Love You at parts.

*Break the Spell*: This is another one with a bit of a rockabilly beat. This one is a bit moody by both Stones and rockabilly standards. Kind of like a Cramps song in some ways. I think the Stones had a lot of fun with rockabilly.

*Slipping Away*: Richards sings quite a bit on this album. He sings on this, the last track on Steel Wheels. It has a nice backup chorus on this but probably not a song I’d be trying to listen to over and over again. Some Philly soul influences here I think.



But wait there's more 


[h=3]Single[/h] 
*Cook Cook Blues*:

This is the flip to Rock and a Hard Place.  Originally recorded in 1982, assumably for Undercover. It was considered  pretty much a throwaway at the time. It’s your basic blues track more than anything wise. Nothing special.

[h=3]Single (1990)[/h] 
*Wish I’d Never Met You*:

This is the flip side to Terrifying ( I didn’t even know that was released as a single). This too is a bit bluesy. It’s at a slower speed than Cook Cook Blues and the piano is more prominent.  This isn’t a bad track at all actually. This could have fit on Steel Wheels.

So all is now well with the Rolling Stones but will it last? I’ll give you a hint: It will for four of them.  The early nineties will be a period where people begin to wonder if the Rolling Stones are becoming a parody of themselves. After all, three of them would be turning fifty during this period. Shouldn’t they be doing something else than playing rock and roll? Maybe, but there will be a lot to cover in the next five years between singles, a couple of solo albums (there would now be a comfort zone with the Glimmer Twins) and a new Rolling Stones album, so stay tuned for the fun.


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## Deleted member 56686 (Nov 11, 2019)

*1991-1995.*







The big story during this period was the departure of Bill Wyman. He had been unhappy for a while and, in early 1991, he announced his departure. It wouldn’t become public for another two years, but in the meantime, The Stones had to find a new bassist.  After many auditions with Richards and Watts, they decided on session musician Daryl Jones though he has yet to be considered a full fledged member. Maybe the other guys are jealous because at 57, he’s young enough to be Jagger’s illegitimate son. :lol:

In other news, the other Stones stayed involved with their solo projects as Watts was now leading his Charlie Watts Quintet and Jagger and Richards each recorded solo albums, this time in a more amicable fashion. As for the band themselves, they signed a contract with Virgin Records. Recording and live tours were less common as they were getting older but they still were happening as Voodoo Lounge would be released in 1994 and they’d tour South America for the first time in 1995.

So there will be a bit to cover even though there is only one bonafide Rolling Stones album.  But there are also three singles plus two live albums as well as solo efforts by each of the Glimmer Twins. So let’s get started, shall we?

[h=3]Single[/h]
	

	
	
		
		

		
		
	


	




*Highwire*:  This single would be highlighted on the live Flashpoint album.   This is unusual in that it is a rather political song, something the Stones did sparingly. This was recorded during the build up to the Gulf War. It’s done in the classic Stones style and is very well done.






*Sex Drive*: This single  is done in something of a funky style not unlike something they might have done around the time of Black and Blue. It’s certainly sounds like something Jagger would do. The video is kind of fun to watch with Watts playing the psychiatrist role (I think). Nice catchy romp.

[h=2]LIVE- FLASHPOINT[/h] 
	

	
	
		
		

		
		
	


	





So this is the state of the Rolling Stones circa 1989/1990. It was recorded during the Steel Wheels/Urban Jungle Tour and, as such, would be the last we’d hear from Bill Wyman who would more or less retire. The Stones are at the point where they are playing the oldies for the most part. The quality remains stellar however and I’m hearing a great rendition of Ruby Tuesday. Who would have thought the Stones would tackle something that is foreign to what they sounded like from the seventies on? This is arguably their best live set since Ya Yas.

[h=2]KEITH RICHARDS ALBUM-MAIN OFFENDER[/h]





This is Richards’ second and last album for another twenty-three years. It’s a shame too as this is about as good as Talk Is Cheap. In some ways Richards’ solo material is superior to what the Rolling Stones themselves were doing and  is certainly superior to Jagger’s solo work.  Richards co-wrote most of the tracks with other members of the X-Pensive Winos.  With a couple exceptions, it’s done in the same similar Stones influenced blues style that is on Talk Is Cheap. Jagger, upon complimenting the album would say that Richards’ single from the album, Wicked As It Seems, was the inspiration for Love Is Strong.  



[h=2]MICK JAGGER ALBUM-WANDERING SPIRIT[/h]






Mick Jagger did things a bit differently on this one. First he snatched up Rick Rubin to be his producer and he dropped most of his celebrity guest musicians for this effort, Lenny Kravitz being the only major name on this set. I have to say having lesser known session musicians makes this much more listenable to me than his two eighties efforts.  Gone are the eighties style synthesizers and it’s now back to basics for Jagger, albeit a bit commercial. After all, it wouldn’t be Mick Jagger if it weren’t at least a little commercial.  Anyway, I can listen to this one and at least, Jagger isn’t being pretentious here 

[h=3]Single[/h] 
*The Storm*: This is the flip to Love Is Strong. This is done in an acoustic blues style. This probably would work with a black blues artist but I don’t feel it here for some reason. And you’re talking about someone who loves classic blues.

*So Young*:  This is the flip to the UK release of Love Is Strong (are you keeping up here? :lol: ) . This is actually an outtake from Some Girls that they worked on for Voodoo Lounge. It’s not a bad track. It might have sounded a little too retro for Some Girls if that makes sense (this sounds closer to Sticky Fingers- Exile territory). Anyway, not a bad track.



[h=1]VOODOO LOUNGE[/h] 
	

	
	
		
		

		
		
	


	




Voodoo Lounge was the Stones’ first studio album in five years.  It was also the first without Bill Wyman and from then on, the Rolling Stones would continue on as a four piece while Daryl Brown worked as their permanent bassist though he would never be considered a permanent member.  Like Steel Wheels, this would be well received critically but it wouldn’t make the same dent on the charts previous albums and singles had. By 1994, there really was a feeling that maybe the Rolling Stones had overstayed their welcome a bit as they were all now in their fifties. Still there’s a lot to like about this album, so let’s going, shall we?






*Love Is Strong*: I remember there was a lot of promotion for this track. The video features giant models walking the streets of New York while our heroes had to be careful not to be trampled on. As for the song itself, this might be my favorite track since Waiting on a Friend.  And it’s a great start to maybe the last studio album to be taken seriously.






*You Got Me Rocking*: This one sounds like vintage Rolling Stones. It certainly sounds like something that might have worked on Exile On Main Street for example.  Richards does a nice lead on this one. This was the second single culled from the album.

*Sparks Will Fly*: Melodically, it sounds a little new wave. It basically comes off as halfway decent AOR. Probably not a classic track but fits in well with the album.

*The Worst*: Richards is the singer on the mellow country tune. Ron Wood is featured on the pedal steel guitar. This works quite well as a country-rock ballad.

*New Faces*: Mick Jagger called this track a bit madrigal. There is certainly a Lady Jane vibe to this.  At this point, I’m hearing a certain maturity that isn’t always so common on Rolling Stones tracks. I mean, Brown Sugar may be a great song, but I don’t think anyone ever accused it of being mature. Anyway, this is a pretty track.

*Moon Is Up*: Charlie Watts is apparently featured on trash can according to him. Anyway, this is another foray into the Rolling Stones being a little more than just a hard rock band.  So far, I’m pleasantly surprised by this album.






*Out of Tears*: This is the third single from the album.  This too, is a ballad, though not in the country style of the previous tracks.  This is a rather sad tune. I don’t know if Jagger was going through something emotionally but you can certainly hear the pain in the lyrics.






*I Go Wild*: And we’re back to classic Rolling Stones.  We’re also back to less than G rated lyrics, though hardly as bawdy as something like Star, Star, otherwise known as… Anyway, this is yet another solid track.

*Brand New Car*: Well, I won’t accuse this track of having inspired lyrics. Yeah, I know Mick, you have a brand new car. The song itself is okay with some nice brass mixed in. Richards does a nice solo.

*Sweethearts Together*: This is unusual in the sense that Jagger and Richards are doing a nice harmony. It’s a pretty song, something that seems to be common on this album. This has a bit of an Everly Brothers feel to it of all things.

*Suck On the Jugular*: This has kind of a funky beat to it. It’s dominated by Watts’ drumming for the most part. The instrumentation, while there, is somewhat minimal. A little bit of language on this one. Not a bad track.

*Blinded By Rainbows*: Another ballad of sort with some nice tremolo guitar work. I know I said Steel Wheels may have been their last true moment in the sun, and commercially, it probably was, but artistically, well, maybe not.

*Baby Break It Down*: This is more of your standard Stones ballad with some country tinges. It’s not terrible by any length of the imagination, but it isn’t a track that I’ll remember from this album.  Another nice steel pedal by Wood.

*Thru and Thru*: Wood is missing from this track even though timeisonmyside says it was partly done in Wood’s studio.  This is yet another track where Watts is drumming in the stairwell (how do you fit a drum set in there, I have no idea). This is a mostly acoustic track sung by Richards. It’s moody in its own way.

*Mean Disposition*: The album ends with kind of a rockabilly romp. There are no frills on this one, just the four Rolling Stones plus Daryl Jones as well as Chuck Leavell on piano. It’s not truly classic Stones but it’s a nice way to end the album

We’re almost done…


[h=3]Single[/h] 
*Jump On Top of Me*: The B side to You Got Me Rocking, Jagger says he was pressured by producer Don Was to write this. It has a country-blues vibe to it. I think the Stones were trying to get back to their roots a bit here as this one sounds like something they could have done on Let It Bleed. I like this song.

*I’m Gonna Drive*: The flip to Out of Tears, this track has a nice drive to it. I can hear Daryl Jones’  bass on this and I have to say, I’m quite impressed.  Like a lot of Stones songs during this period, there are some country influences here. Another nice track.


Okay, now we’re almost done.

[h=2]LIVE-STRIPPED[/h]
	

	
	
		
		

		
		
	


	




This is a combination of live recordings and unplugged classics for the most part. This was recorded during the back end of the MTV Unplugged era and it seemed like everyone needed to get into the act and you know how the Stones like to be trendy.  They even had a hit with a cover of Dylan’s Like a Rolling Stone. It’s not bad though it sounds a little more like Dylan only with Stones vocals.  As far as the “unplugged” tracks go, well, they really aren’t unplugged, are they? I mean I can hear an electric organ on a redo of I’m Free. Of course they’re all great songs, but I’ve heard so many live albums from these guys, do we really need one more? Still, a nice try with the studio redos.


And so ends a rather active period in the life of the Rolling Stones. Things will slow down a bit over the next five years as age is slowly creeping in, but they will refuse to die and there will be some more things to cover to be sure. So stay tuned, we still have a bit to go.


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## escorial (Nov 12, 2019)

Bill Wyman married the daughter of the mother his son married later on.....that was the 80's


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## Deleted member 56686 (Nov 12, 2019)

*1996-2000.*







By Rolling Stones standards, this was a fairly quiet period with only one album and a couple single tracks to review during this period.  Charlie Watts continued on with his quintet while Jagger and Richards were abandoning their own solo efforts, preferring to concentrate on recording Bridges To Babylon. The band would also embark on what would prove to be a three year tour due to tax purposes.

So during this period we technically have yet another live album, but I think we’re reviewed enough live albums by now. I think it’s pretty well established by now that the Rolling Stones are a damned good live band so why do yet another? There is also Bridges to Babylon, their latest studio album, which we will get into right now…

[h=1]BRIDGES TO BABYLON[/h]





So here we are with the latest from the Stones. This album wouldn’t be received as well as the previous two efforts. In this case maybe there were too many cooks besides Don Was, who had produced the previous albums and partially produced this one. Jagger brought in the flamboyant Dust Brothers who introduced the Stones to sampling, something that was somewhat controversial by now as the Rolling Stones themselves have had recordings sampled by others.  On all, five producers were used outside of the Glimmer Twins themselves, who were again apparently not happy with each other (sigh).

So what did it all mean for this album? Well, let’s find out, shall we…


*Flip the Switch*: The first thing to note about this standard Stones- like track is the dual drumming of Watts and established session musician Jim Keltner. It still comes off more as a heavy new wave song than truly classic Stones. Still, a good start to the album.






*Anybody Seen My Baby*: This sounds more like a Mick Jagger solo effort to me. This was the hit from the album, or at least the better known hit. It’s a decent song and well produced, but it doesn’t seem much like the Rolling Stones though. The Dust Brothers sampled Biz Markie on this one, don’t ask me why.

*Low Down*: This one is a medium slow paced done in classic Stones style for the most part. At this point, you’re getting the feeling that this has already been done. It certainly isn’t a bad track, but maybe the Stones are getting a little long in the tooth.

*Already Over Me*: Mick Jagger attempted to do this track with Babyface originally.  The two decided it wouldn’t work. As it is, you have a nice Stones ballad that has been compared to Wild Horses. So far, I can say the album is consistently decent at this point.

*Gunface*:  This is something of a violent song. I’m not sure if this is supposed to be a message against domestic violence or if it’s a song that, as Charlie Watts puts it, has a Howlin Wolf vibe to it. Whatever the case, I can’t get into it.

*You Don’t Have To Mean It*: Keith Richards doing reggae again.  It sounds a bit like classic reggae here actually when you add the piano and horns. As usual, Richards does pretty well with this sound.






*Out of Control*: I believe this was also released as a single. I think Jagger is trying to do some seventies style soul on this one but, honestly, I’m not feeling this one.






*Saint Of Me*:  I guess this also rates as solo Jagger since Richards isn’t even on this track.  That might be unfair as Jagger also plays acoustic guitar on this and the other two Stones are there as always. Not a bad track at all actually. Me’Shell Ngedecello plays the bass on this track.

*Might As Well Get Juiced*: I’m not sure what to compare this track too. Maybe a little bit of Undercover of the Night on this, but then again, not really. It has a slow bluesy kick to this, but it isn’t a song I can really get into.

*Always Suffering*: This is a ballad with a few country tinges. I guess this one is okay, but  really, this almost sounds like filler.

*Too Tight*: This sounds like classic Stones circa Some Girls. Even the lyrics seem a bit nostalgic for that time. After a couple of flat tracks, I can really get into this one.

*Thief in the Night*: Jagger is missing from this one (his vocals didn’t work it seems). Richards ends up doing the vocals. I can kind of see why. This sounds like something that would fit better on a Richards solo album. And since I like Richards’ solo stuff better than Jagger’s …  . Like the background singers.

*How Can I Stop*: This too is missing Jagger though why in this case, I have no idea. This is a thoughtful ballad of Richards with again the gospel like chorus.  Like Thief in the Night, it doesn’t really sound like the Rolling Stones, but it isn’t a terrible way to end the album.


But, wait, there’s more. 

[h=3]Single[/h] 

*Paying the Cost To Be the Boss (with BB King*): This is actually a BB King track from his Deuces Wild album. So why here? Well, it says he’s recording with the Rolling Stones. It’s actually great vintage BB King but you do wonder if a duet with Mick Jagger (or the other artists on the album for that matter) was really necessary.

*Anyway You Look At It*: The flip of Saint of Me, this one sounds a bit strange. I think it’s Richards on lead vocals here. This sounds really sappy to be honest, like something that might have been done by some MOR artist in the seventies, like Dan Fogelberg or worse. This has to be one of the worst Stones songs ever. Thank god this is just an obscure B-side or I’d have to bring out the Shatner.  uker:


So that’s the state of the Rolling Stones as we begin the new millennium. What will the twenty-first century have in store for our heroes? We know there will be yet another album and another tour.  Will there be much else? Well, you’ll have to stay tuned and find out, won’t you?


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## Deleted member 56686 (Nov 13, 2019)

*2001-2005.*







All things considered, this was a relatively quiet period in the Rolling Stones history. It makes sense as they were now approaching sixty. Not that there was no activity. Jagger was especially busy as he recorded his fourth solo album. Richards was also recording though his material has yet to be released. The Rolling Stones would perform at the Concert For New York in the wake of 9/11.

The big event during this five year period would be the recording of yet another album and the Forty Licks world  tour. Needless to say, the tour was a huge success, if a bit expensive for the concert goer.  They did headline the SARS festival in Toronto in hopes of calming down fears of the epidemic there. 

In 2004, Charlie Watts was diagnosed with cancer and would have to go through radiation before the Stones embarked on their Bigger Bang tour. The good news is that he would make a complete recovery.
So basically we have a surprisingly good Mick Jagger album, a few new tracks from their latest compilation, The Bigger Bang album, and a few single tracks. So let’s get started, shall we?



[h=2]MICK JAGGER ALBUM-GODDESS IN THE DOORWAY[/h]





So times were changing and the Rolling Stones were now older and yet still growing. It gave Mick Jagger some freedom to record his fourth album with little to no interference from his partner in crime, Richards. There was a feeling that he could do both now.

And this is easily the best of Jagger’s four efforts and I have to admit I was a bit surprised. Yes, it’s still quite commercial but there is nothing pretentious about this album. He’s not trying to be trendy. He’s simply  writing and recording good songs here. There is a certain maturity to these tracks. He’s not trying to be the Rolling Stones and he’s not trying to be the disco king or whatever he was trying to do in the eighties. I especially like the opening track, Visions of Paradise.   :smile::smile::smile:  1/2

[h=2]COMPILATION- FORTY LICKS[/h] 





This is ninety percent greatest hits and ten percent new material (four songs). With forty songs in all, you get forty licks, get it?

As far as the compilation goes, disc one covers much of their sixties material while disc two covers the seventies and beyond as well as the four new songs. Honestly, it isn’t something I couldn’t get on the other compilations. I mean the Hot Rocks series covered much of the same material as far as the sixties go. Of course, the Stones now had ownership of their old material so I’m sure that played into their thinking.

So let’s review the four new tracks, shall we?






*Don’t Stop*: This track is reminiscent of earlier times for the Stones. Ron Wood compares this to Start Me Up. I’m not sure if I hear the resemblance but I think I get what’s he’s saying. Decent track.

*Keys To Your Love*: I think they were trying to do Curtis Mayfield here.  I don’t know. I happen to like Curtis Mayfield and this song ain’t it. It’s not all bad, parts of it are even good, but overall, I can’t get into it.

*Stealing My Heart*: The riff reminds me of  That’s Good by Better Than Ezra though it certainly isn’t a ripoff of that song.  Jagger says on timeisonmyside that it has a garage rock feel to it. Yeah, I can relate to that being a garage rock fan and all.

*Losing My Touch*: This one is a Keith tune.  This one is a slow ballad more or less and Richards seems to be showing his age here, at least as the vocals are concerned.  It’s not bad and I might as well go on the record to say that Keith Richards is my favorite of the Rolling Stones. This song though, is a bit sleepy.

[h=1]A BIGGER BANG[/h]
	

	
	
		
		

		
		
	


	




After going through a period of experimenting with different sounds, particularly on Bridges To Babylon eight years before, the Rolling Stones would get back to basics with this effort.  It paid off as critics generally liked the album and sales were brisk. It also would set up one of their most successful concert tours.
After listening to this album, I have to say this might be their best album since maybe Tattoo You. I didn’t expect this to be as good and certainly to be as topical with the Stones now being in their sixties. Perhaps recording infrequently is good for them.






*Rough Justice*: Oh, yeah. This is definitely classic Stones. In fact I could swear it’s Mick Taylor on the guitar. Of course, it’s Ron Wood, but man, this is the best Rolling Stones song I’ve heard in years.

*Let Me Down Slow*: This one doesn’t quite rock the way the opening track did, but it’s not a bad track. One thing I’ve noticed early on, is that the subliminal new wavey style is gone. That’s a good thing.

*It Won’t Take Long*: Another solid track in the classic style. Not quite as raunchy as  Rough Justice but there are some garage touches on this one chord wise. It sounds like the Stones are having fun with this one.





*Rain Fall Down*: This one sounds more like vintage eighties a la Undercover. There is a bit of a funky vibe to this one.  It’s a decent track. The album is going pretty well so far.






*Streets of Love*: This one is a slower paced song compared to the others. . Vocally, it very much sounds like classic Stones. At their best they don’t try to sound like great singers. There’s a certain rawness in their backup vocals when they’re at their best.

*Back of My Hand*: The first thing I thought of when I saw the title was that this might be a cover of the Jags’ power pop classic. I know, silly, huh? Of course it isn’t. In fact this is a great blues style piece reminiscent of something they might have done on Let It Bleed. Yeah, I like this one.

*She Saw Me Coming*:   Jagger is listed as the bass player on this one. This may have been done in one take. It certainly doesn’t sound bad. Like the other tracks, it’s a return to basics for the most part.

*Biggest Mistake*: First of all this is a nice set of lyrics. Jagger was being introspective and maybe in some pain when he wrote this. It shows a different side of Mick and while it’s sad in a way, it isn’t unusual, because we’ve all had pain at some time in our lives.

*This Place Is Empty*: Keith is on the vocals on this mostly acoustic piece. It’s a nice semi-slow song. Jagger plays the slide on this one.

*Oh No Not You Again*: Definitely classic style Stones here circa Sticky Fingers or Exile. I can’t say it quite matches up to Brown Sugar or Rocks Off but there is no doubt you can hear the energy on this. Richards does a nice solo.

*Dangerous Beauty*: Did I mention the Stones rarely got political outside of maybe Beggars Banquet (Sympathy For the Devil, Street Fighting Man)?  Well they sure do here. It was pointed out that this was about the Abu Ghraib scandal, possibly a swipe at Lynddie England in particular. I have to say, these are some of Jagger’s strongest lyrics. He’s really on fire on this album.

*Laugh, I Nearly Died*: This is more of a ballad really. I hear a little bit of Miss You here for some reason.  This one is a bit soulful. I kind of like this one.

*Sweet Neo Con*: Did I say Jagger was on fire? Well, he really goes for the jugular on this one.  He takes shots at the religious right and the Bush administration in general. It’s obvious Jagger was very opposed to the Iraq War.  This Some Girls style song is about as powerful as Dangerous Beauty, though if a gun was put to my head, I’d probably say the former is a little more effective.

*Look What the Cat Dragged In*: This one is a bit fast paced, a bit funky in the typical Stones style circa eighties. Interesting title to say the least. Not a bad track.

*Driving Too Fast*: Another song that is back to basics. Not quite as heavy as some of the other tracks. I mean, this won’t remind you of Sticky Fingers. Possibly because there are no horns on this track, or anywhere else on this album as I’ve just realized. It doesn’t take away from the album though.  Wood does a nice slide solo.

*Infamy*: Looking at the probable line-up and with it being primarily Jagger and Richards with Watts on drums, I have to wonder if this is one of those McCartney style do it yourself tracks.  Luckily this wasn’t done in the sixties when they would have had to figure out how to do this on a four track. Anyway, this isn’t a bad way to end the album.  Richards is on lead vocals



But wait, there’s more

[h=3]Single[/h] 

*Under the Radar*: This was a track that was added to the Bigger Bang DVD.  It has that blues-country Rolling Stones vibe to a large extent. Not really the most melodic of songs, but then again, the Stones never were known for their great melodies.

*Don’t Wanna Go Home*: Another extra track off the DVD.  There is a garage feel to this, especially in the chorus.  Really, if a retro garage band got hold of this, this could sound like something that could have been on the Pebbles series (I know you’ve never heard of Pebbles but it’s basically a multi-LP compilation of amateur teen bands from the sixties). Anyway, I really like this track.

So there was are as we enter what will the last phase (for now) of the Rolling Stones’ career.  It promises to be a period of touring mostly when they are active as there is only one more Rolling Stones album to actually review. We will mention Richards and Woods and their solo endeavors though. Anyway stay tuned to see what our heroes are up to now.


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## escorial (Nov 13, 2019)

What I like about the Neolithic stones is that you don't have to be young to be hip...not hip replacement


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## Deleted member 56686 (Nov 13, 2019)

Esc, where ya been?


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## escorial (Nov 13, 2019)

Just not been posting as much but still looked in an read stuff


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## Deleted member 56686 (Nov 14, 2019)

*2006-2019.*







This last period in our saga begins with a trip to the Super Bowl as the Rolling Stones got the nod to play the halftime show. They fared better than other oldies acts such as Paul McCartney and especially the Who (or what’s left of them) as they didn’t seem to look like over-aged embarrassments.  Of course the Rolling Stones were now in their sixties going into their seventies. There were a couple sets with unreleased tracks that I won’t be covering though I probably should. I am going to cover a Rolling Stones album of covers as A Bigger Bang is, alas, the last album of original Stones material. We also have a Keith Richards solo effort and a live New Barbarians album featuring Richards and Wood.

So what is the state of the Stones  as of now?  Well, for starters, Keith Richards would have a series of misadventures as he claimed to have smoked his father’s ashes and he infamously fell out of a palm tree in another incident (don’t ask me).  Ron Wood would have his own domestic issues that would end in a couple break ups. He found some success as a solo artist though. Watts stayed active too playing in clubs when the Stones were not performing.

And then there was the reality that the Rolling Stones were no longer young when Mick Jagger recently had to get a heart procedure done. The good news is he’s fine and the Stones just recently finished their latest North American tour.

So what does the future hold for these ageless wonders? It’s hard to say. Billy Wyman, who also remains active, is now eighty-three and the other three original Stones are in their late seventies. Even Ron Wood just turned seventy. But, who knows, maybe there is another album in them, I guess time will tell.

So, we have a smattering of what’s left in the Stones history here. I don’t have information on some of it, but I’ll do the best I can with it. 


[h=2]MOVIE -SHINE A LIGHT (2008)[/h]
	

	
	
		
		

		
		
	


	




For this movie, the Rolling Stones would get the Martin Scorcese treatment. Scorsese is a big fan of the Rolling Stones and he has used their music in many of his movies, notably Goodfellas and Casino. I haven’t seen the movie, only catching the two minute trailer on YouTube which shows Scorcese fretting about what songs the Stones are going to play. There is some archival film in this as well. I happen to be a fan of archival film as it often explains how artists tend to tick today. I guess it’s part of the inner historian in me as well.  Anyway, I haven’t seen the film, but I did see Scorcese’s bio on George Harrison so that alone makes me really want to see this. Maybe one day.


[h=3]Single[/h]
	

	
	
		
		

		
		
	


	




*Plundered My Soul*: This is off the Stones in Exile set. In other words, this is an outtake from Exile On Main Street.  Universal, who the Stones are with now, was hoping they could find some old material from some their seventies period and they were surprised to find unused tracks from Exile On Main Street in particular given that had been a double album set. This song is halfway decent and probably would have done well on Exile. As it was, they ended up releasing this as a single in 2010.


[h=3]off  Tribute to Ian Stewart album[/h] 
	

	
	
		
		

		
		
	


	



*Watching the River Flow*: This is off  the album Boogie 4 Stu, a tribute album to the late Ian Stewart.  Bill Wyman returns for this Bob Dylan cover. I’m guessing that Stewart was a big Dylan fan. I’m not going to be critical of something that was meant as a labor of love. I will say, that this is a good version of the song though and it’s nice to see Bill Wyman back with the Stones, even if it is just for one track.

[h=2][/h][h=2]KEITH RICHARDS ALBUM- CROSSEYED HEART[/h]
	

	
	
		
		

		
		
	


	




This is Keith Richards’ first solo album in twenty-three years. Like the other two, this one is pretty much a gem. Here, Richards is combining  acoustic blues  as well as other styles that you would associate with Richards. Of course there is the slight foray into reggae which is a love of his. The bottom line is that it, as with the other two albums, is a collection of really good songs. And once again, Richards proves he can actually sing, even at seventy-two. 



[h=2]NEW BARBARIANS (KEITH RICHARDS AND RON WOOD)-WANTED DEAD OR ALIVE (LIVE) (2016)[/h]
	

	
	
		
		

		
		
	


	




The New Barbarians was, and is, essentially, Ron Wood’s project with some help from Keith Richards. This is from a concert they did in 1979. Stanley Clarke, Bobby Keys, and Ian McLagan are among the other members. This is basically an energetic set with Keys doing his usual thing on the sax. It’s a shame they never recorded a studio album.  And guess what? Ron Wood can even sing, who would have known?

[h=1]BLUE & LONSESOME[/h]
	

	
	
		
		

		
		
	


	





This is the Rolling Stones’ first album in eleven years and the first covers album, thus they have yet to release an album of new material since A Bigger Bang. If A Bigger Bang is to be their last original album, then it’s a pretty good way to go. As for this set, this is obviously a homage to the blues, the form that essentially made the Rolling Stones what they are.  For the most part it’s the four Rolling Stones in their traditional roles with some help from Daryl Jones, Chuck Leavell,  Matt Clifford, and a guest appearance by none other than Eric Clapton.

Obviously, you have to take this album in context as this is more of a tribute album for some of the Stones’ favorite blues artists. As such, this is a fantastic collection of songs, featuring some blues tracks originally recorded by the likes of Little Walter, Howlin Wolf, etc.






*Just Your Fool*: This is a Little Walter cover that sounds a little like early Stones, like 1964 early Stones. This sounds pretty cool. Quite a bluesy feel to this. These guys are having fun.

*Commit a Crime*: This was Howlin Wolf so you can imagine this would be an interesting set of lyrics. Howlin Wolf was indeed something of a horse of a different color. In any event, the Stones a pretty good job with this one.  Really like Watts’ drums on this.

*Blue & Lonesome*: Another Little Walter cover.  This sounds a little moodier than the Little Walter material I have previously heard. Actually, if I hadn’t seen the credits, I might have assumed this was another Howllin Wolf cover. Anyway, another great track.

*All Of Your Love*: This one is the Magic Sam cover. I’ve heard the original and it’s actually one of my favorite songs of 1957.

*I Gotta Go*: Another Little Walter cover; they must love this guy. This sounds closer to what I would have expected from Little Walter as this is a bit more upbeat and a bit jukey as well.

*Everybody Knows About My Good Thing*: This one was originally done by Little John Taylor in 1971. Okay, first of all, I have no idea who Little John Taylor is. This is one of two songs that features Eric Clapton.  It’s pretty much your routine blues song circa early seventies. Nice jam session for the most part

*Ride Em On Down*: I haven’t heard of Eddie Taylor and this is from 1955. I need to brush up on my blues. This is a fairly upbeat tune. It moves along quite well. Interesting this song has a naughty word given it’s from 1955 and they would have frowned on something like that then. Anyway, I’m really liking this album.






*Hate To See You Go*: Not Little Walter again. This was one of the singles culled from the album and I can see why. This one definitely has a steady rhythm to it, kind of like a fast paced Muddy Waters tune. Speaking of, where is Muddy Waters in this package?


*Hoo Doo Blues*: This one is from Lightnin Slim circa 1958. This definitely sounds like classic blues here. Like most of the album, I like this.

*Little Rain*: And here’s one from Jimmy Reed. Reed was someone the Stones covered a lot in their early days.  Jagger and Richards may have been thinking of Brian Jones when they played this one.  As usual, they do Reed justice here.

*Just Like I Treat You*: Ah, a Howlin Wolf cover that doesn’t sound so scary. The Wolf must have been on his meds when he did this. Either that or it’s because Willie Dixon wrote it. Anyway, this is probably a little faster than a typical Howlin Wolf song. It’s a nice little rave up actually.

*I Can’t Quit You Baby*: I know this one. This is the Otis Rush classic. This is also the second track featuring Eric Clapton. It’s about at the same tempo as the original. Jagger does a decent vocal and, as usual, Clapton does his vintage slow hand bit. Good way to end this set.


And I think that’s about it. Will the Stones tour again? My gut says yes. Will they record another album? Who knows at this point? One thing for sure, the Rolling Stones have given us everything they’ve had for over fifty-five years now so it won’t be upsetting if this is finally it. Whether they perform together again or not, it’s good to see the friendships maintained at least and one can hope they remain healthy for however long they have on this earth.

So that’s about it. Thank you for indulging me on the second of my reviewing projects. I’ll start with a new reviewing of another major artist very soon


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## escorial (Nov 14, 2019)

Seen the stones last year at old Trafford and it was a great gig....they have a fine back catalogue but i reckon they will go down as one of the greatest live acts more than their studio albums...


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## escorial (Jan 30, 2020)

Looking at paintings for sale in gallery today..it was Keith Richards painted by Ronnie wood and the price tag was 40 thousand...I had to look twice..I thought 4grand first off...


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