The Rolling Stones headline Saturday night at the Glastonbury Festival 2013. All the material The Rolling Stones allowed to be broadcast is here.
“Haven’t slept since Wednesday afternoon, Waitin’ for that Glastonbury girl, She took all my ecstasy now she’s off at Primal Scream,” Mick Jagger sings to the crowd. Changing the words of ‘Factory Girl’ from ‘Beggars Banquet’. Great fun!
They still got what it takes and did a great set! Nice to see Mick Taylor back on stage with The Stones to.
The full BBC broadcast of the Rolling Stones at Glastonbury 2013:
Ain’t I rough enough Ain’t I tough enough Ain’t I rich enough In love enough Oooo, ooh please.
Some Girls was released in 8 June 1978 and it was their first full album with Ronnie Wood. It’s a great album, up there with the best albums in their catalogue. They mixed in some new wave sounds, added a bit of disco and kept their soul, blues and country tinged rock’n roll. Released on the height of the punk and disco era, The Stones made this masterpiece of an album. Some Girls is very much a product of it’s time, but when Rolling Stones made a record that gave a nod to these “fads,” they did so with such anger and speed that the young people in 1978 must have been struck with envy. They certainly made an album that has stood the test of time and it’s a definitive Stones album.
The Rolling Stones prove time and again that they still have what it takes.
Here are all the songs live:
1. Miss You (1978), the eight and a half minute version, a masterpiece! The guitar work on this song (this version) is simply spectacular. I read somewhere sometimes that this was one of the songs that Prince wished he had written, and we can hear on his music that he has been influenced by this tune in a big way.
2. When the whip comes down (1978) Sleezy and cool and it kind of reminds me of Star Star.
Yeah, mama and papa told me I was crazy to stay I was gay in New York, a fag in L.A. So I saved my money , and I took a plane Wherever I go they treat me the same When the whip comes down
3. Just My Imagination (running away with me) a soul number that fits The Stones perfectly. Very different from The Temptation version but equally good.
4. Some Girls (2008) Only The Rolling Stone s could have gotten away with these lyrics, they’re as politically incorrect as they possibly could be:
White girls they’re pretty funny, sometimes they drive me mad Black girls just wanna get fucked all night I just don’t have that much jam Chinese girls are so gentle, they’re really such a tease You never know quite what they’re cookin’ Inside those silky sleeves
More than anything else this fagged-out masterpiece is difficult–how else describe music that takes weeks to understand? Weary and complicated, barely afloat in its own drudgery, it rocks with extra power and concentration as a result.
~Robert Christgau (http://www.robertchristgau.com)
..It’s the kind of record that’s gripping on the very first listen, but each subsequent listen reveals something new. Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones’ best records, but sets a remarkably high standard for all of hard rock.
~Stephen Thomas Erlewine (allmusic.com)
Let It Loose:
Wikipedia:
Released
12 May 1972
Recorded
June 1969 – March 1972
Genre
Rock and roll, blues, soul, R&B,country
Length
67:07
Language
English
Label
Rolling Stones
Producer
Jimmy Miller
Exile on Main St. is the tenth British and 13th American studio album by English rock band The Rolling Stones. Released as a double LP in May 1972, it draws on many genres including rock and roll, blues, soul, R&B, gospel and country. The release of Exile on Main St. met with mixed reviews, but it is now generally regarded as the band’s best album. In 1987, as part of their 20th anniversary, Rolling Stone magazine ranked it third on the 100 Best Albums of the Last Twenty Years. In 2003, the album was ranked 7th on Rolling Stone magazine’s list of the 500 greatest albums of all time, the highest a Rolling Stones album ranked on the list.
The 2010 remastered version of the album was released in Europe on 17 May 2010 and in the United States on 18 May 2010, featuring a bonus disc with 10 new tracks.
Loving Cup:
Recording:
Exile on Main St. was written and recorded between 1968 and 1972. Mick Jagger said “After we got out of our contract with Allen Klein, we didn’t want to give him [those earlier tracks],” as they were forced to do with “Brown Sugar” and “Wild Horses” from Sticky Fingers. Many tracks were recorded between 1969 and 1971 at Olympic Studios and Jagger’s Stargroves country house in England during sessions for Sticky Fingers.
By the spring of 1971 the Rolling Stones owed more in taxes than they could pay and left Britain before the government could seize their assets. Mick Jagger settled in Paris with his new bride Bianca, and guitarist Keith Richards rented a villa, Nellcôte, in Villefranche-sur-Mer, near Nice. The other members settled in the south of France. As a suitable recording studio could not be found where they could continue work on the album, Richards’ basement at Nellcôte became a makeshift studio using the band’s mobile recording truck.
Torn And Frayed:
…..it’s their most physically jolting album and, ultimately, their most emotionally inspiring. Mick’s vocals are just another instrument in a glorious rush of high-velocity electric noise, his lyrics barely perceptible in all the guitar, sax, and harmonica; whatever he’s saying, he just wants to plug in and flush out and fight and fuck and feed. Keith channels all his nasty habits and internal chaos into the guitars, from the convulsive opener, “Rocks Off,” to the weary acoustic stomp of “Sweet Virginia.” Charlie Watts’ understated performance in “Shake Your Hips” demands some sort of Nobel Prize.
Exile was the Stones’ biggest musical triumph, but all the decadence was catching up with them. The band lost focus, with Keith’s attention diverted by the pressing concern of stuffing as many toxic chemicals into his veins as possible.
Mick Jagger – lead vocals, harmonica, guitar on “Tumbling Dice” and “Stop Breaking Down”, percussion
Keith Richards – guitars, backing vocals, lead vocals on “Happy”, electric piano on “I Just Want to See His Face”, bass guitar on “Casino Boogie”, “Happy” and “Soul Survivor”
Mick Taylor – guitars, slide guitar, bass guitar on “Tumbling Dice”, “Torn and Frayed”, “I Just Want to See His Face” and “Shine a Light”
Charlie Watts – drums
Bill Wyman – bass guitar
Additional personnel
Nicky Hopkins – piano
Bobby Keys – saxophone, percussion on “Happy”
Jim Price – trumpet, trombone, organ on “Torn and Frayed”
Ian Stewart – piano on “Shake Your Hips”, “Sweet Virginia” and “Stop Breaking Down”
Jimmy Miller – drums on “Happy” and “Shine a Light”, percussion on “Sweet Black Angel”, “Loving Cup”, “I Just Want to See His Face” and “All Down the Line”
Bill Plummer – upright bass on “Rip This Joint”, “Turd on the Run”, “I Just Want to See His Face” and “All Down the Line”
Billy Preston – piano and organ on “Shine a Light”
Al Perkins – pedal steel guitar on “Torn and Frayed”
Richard Washington – marimba on “Sweet Black Angel”
Clydie King, Venetta Fields – backing vocals on “Tumbling Dice”, “I Just Want to See His Face”, “Let It Loose” and “Shine a Light”
Joe Green – backing vocals on “Let It Loose” and “Shine a Light”
Jerry Kirkland – backing vocals on “I Just Want to See His Face” and “Shine a Light”
Mac Rebennack, Shirley Goodman, Tami Lynn – backing vocals on “Let It Loose”
Kathi McDonald – backing vocals on “All Down the Line”
Engineers – Glyn and Andy Johns, Joe Zaganno, Jeremy Gee
Brian Jones plucked the haunting sitar melody at the 1966 L.A. session for this classic. Bill Wyman added klezmer-flavored organ; studio legend Jack Nitzsche played the gypsy-style piano. “Brian had pretty much given up on the guitar by then,” said Richards. “If there was [another] instrument around, he had to be able to get something out of it. It gave the Stones on record a lot of different textures.”
~rollingstone.com
The principal riff of “Paint It Black” (almost all classic Rolling Stones songs are highlighted by a killer riff) was played on a sitar by Brian Jones and qualifies as perhaps the most effective use of the Indian instrument in a rock song. The exotic twang was a perfect match for the dark, mysterious Eastern-Indian melody, which sounded a little like a soundtrack to an Indian movie hijacked into hyperdrive.
~Richie Unterberger (allmusic.com)
Original version:
Wikipedia:
from the album Aftermath
B-side
“Stupid Girl” (US)
“Long Long While” (UK)
Released
7 May 1966 (US)
13 May 1966 (UK)
Format
7″
Recorded
6–9 March 1966
Genre
Psychedelic rock, raga rock
Length
3:45 (mono single mix)
3:22 (stereo album mix)
Label
London 45-LON.901 (US)
Decca F.12395 (UK)
Writer(s)
Jagger/Richards
Producer
Andrew Loog Oldham
“Paint It, Black” is a song released by The Rolling Stones on 13 May 1966 (7 May 1966 – US) as the first single from the US version of their fourth album Aftermath. It was originally titled “Paint It Black” without a comma. Keith Richards has stated that the comma was added by the record label, Decca.
At a book signing in Nashville in 2001, Bill Wyman explained that the comma was simply a typographical error that stuck.
The song was written by Mick Jagger and Keith Richards. Mick Jagger wrote the lyrics and Keith Richards wrote the music.
Bill Wyman claims in his books that the song was a group effort although it was credited to Jagger/Richards.
The single reached number one in both the United States and the United Kingdom charts in 1966.
In 2004 it was ranked number 176 on Rolling Stone magazine’s list of the 500 Greatest Songs of All Time. In the US and UK, it was the first number one single to feature a sitar.
Live version:
Musicians:
Mick Jagger – lead vocals
Brian Jones – sitar, percussion
Keith Richards – electric guitar, acoustic guitar, backing vocals
Sticky Fingers was never meant to be the title. It’s just what we called it while we were working on it. Usually though, the working titles stick.
~Keith Richards 1971
While many hold their next album, Exile On Main St., as their zenith, Sticky Fingers, balancing on the knife edge between the 60s and 70s, remains their most coherent statement.
~Chris Jones (bbc.co.uk)
#1 – Brown Sugar:
Wikipedia:
Released
23 April 1971
Recorded
2–4 December 1969, Muscle Shoals Sound Studio, Sheffield, Alabama; 17 February, March – May, 16 June – 27 July, 17–31 October 1970, and January 1971,Olympic Studios, London, UK; except “Sister Morphine”, begun 22–31 March 1969
Genre
Rock
Length
46:25
Language
English
Label
Rolling Stones
Producer
Jimmy Miller
Sticky Fingers is the ninth British and 11th American studio album by English rock band The Rolling Stones, released in April 1971. It is the band’s first album of the 1970s and its first release on the band’s newly formed label, Rolling Stones Records, after having been contracted since 1963 with Decca Records in the UK and London Records in the US. It is also Mick Taylor’s first full-length appearance on a Rolling Stones album, the first Rolling Stones album not to feature any contributions from guitarist and founder Brian Jones and the first one on which Mick Jagger is credited with playing guitar.
The album is often regarded as one of the Stones’ best, containing songs such as the chart-topping “Brown Sugar” and the folk-influenced “Wild Horses”, and achieving triple platinum certification in the US.
Spanish Cover
#3 – Wild Horses:
During the tour of the States we went to Alabama and played at the Muscle Shoals Studio. That was a fantastic week. We cut some great tracks, which appeared on Sticky Fingers – You Gotta Move, Brown Sugar and Wild Horses – and we did them without Jimmy Miller, which was equally amazing. It worked very well: it’s one of Keith’s things to go in and record while you’re in the middle of a tour and your playing is in good shape. The Muscle Shoals Studio was very special, though – a great studio to work in, a very hip studio, where the drums were on a riser high up in the air, plus you wanted to be there because of all the guys who had worked in the same studio.
~Charlie Watts in 2003
Recording:
Although sessions for Sticky Fingers began in earnest in March 1970, The Rolling Stones had recorded at Muscle Shoals Studios in Alabama in December 1969 and “Sister Morphine”, cut during Let It Bleed’s sessions earlier in March of that year, was held over for this release. Much of the recording for Sticky Fingers was made with The Rolling Stones’ mobile studio unit in Stargroves during the summer and autumn of 1970. Early versions of songs that would appear on Exile on Main St. were also rehearsed during these sessions.
#9 – Dead Flowers:
To my mind the things that Ry (Cooder) plays on have a kind of polish that the Stones generally began to develop around that time. The rough edges came off a bit. Mick Taylor started putting on the polish that became the next period of the Stones out of the raw rock and blues band.
~Jimmy Miller in 1979
In 2003, Sticky Fingers was listed as #63 on Rolling Stone magazine’s 500 Greatest Albums of All Time.
Mick Jagger – lead vocals, acoustic guitar on “Dead Flowers” and “Moonlight Mile”, electric guitar on “Sway”, percussion on “Brown Sugar”
Keith Richards – electric guitar, six and twelve string acoustic guitar, backing vocals
Mick Taylor – electric, acoustic and slide guitar (not present during “Sister Morphine” sessions)
Charlie Watts – drums
Bill Wyman – bass guitar, electric piano on “You Gotta Move”
Additional personnel
Bobby Keys – saxophone
Jim Price – trumpet, piano on “Moonlight Mile”
Ian Stewart – piano on “Brown Sugar” and “Dead Flowers”
Nicky Hopkins – piano on “Sway”, “Can’t You Hear Me Knocking”
Jim Dickinson – piano on “Wild Horses”
Jack Nitzsche – piano on “Sister Morphine”
Ry Cooder – slide guitar on “Sister Morphine”
Billy Preston – organ on “Can’t You Hear Me Knocking” and “I Got the Blues”
Jimmy Miller – percussion on “Can’t You Hear Me Knocking”
Rocky Dijon – congas on “Can’t You Hear Me Knocking”
Paul Buckmaster – string arrangement on “Sway” and “Moonlight Mile”
Engineers – Glyn Johns, Andy Johns, Chris Kimsey, Jimmy Johnson
Cover concept/photography – Andy Warhol
We made (tracks) with just Mick Taylor, which are very good and everyone loves, where Keith wasn’t there for whatever reasons… People don’t know that Keith wasn’t there making it. All the stuff like Moonlight Mile, Sway. These tracks are a bit obscure, but they are liked by people that like the Rolling Stones. It’s me and (Mick Taylor) playing off each other – another feeling completely, because he’s following my vocal lines and then extemporizing on them during the solos.
~Mick Jagger in 1995
