Posts Tagged ‘Sticky Fingers’

The Rolling Stones / The Studio Albums Vinyl Collection 1971-2016

20 vinyl LPs • half-speed remastered • includes hi-res downloads

Universal Music will issue The Studio Albums Vinyl Collection 1971-2006, a lavish Rolling Stones vinyl box set in June.
This 20LP collection covers 15 studio albums, starting with 1971’s Sticky Fingers and ending with 2016’s Blue & Lonesome.  Every album has been remastered and cut at half-speed at Abbey Road Studios, from “vinyl specific” original tape transfers. The records are pressed on 180g vinyl and each album comes with a download card for “HD digital redemption” of the catalogue. 15 studio albums on 180g heavyweight vinyl. Remastered and cut at half speed in Abbey Road studios. From Sticky Fingers – which includes fan favourites Brown Sugar, Wild Horses and Dead Flowers – to the renowned Exile On Main Street, which is featured on various lists as one of the greatest albums of all time! This release contains every album in between, right up to the very latest Grammy-Award winning Blue & Lonesome.

Housed in a highly bespoke box-set that gives the illusion of a 3D colour changing tongue, the product is individually numbered, with original detailed packaging replications, from the Andy Warhol design with working zip on Sticky Fingers, to the colourful and charismatic Some Girls cut out cover! 

This collector’s item features every studio album release since 1971, all of which are cut at half speed, ensuring these are among the highest quality vinyl pressings that these classic albums will have ever received, creating an incredible sound quality for the listener.  

Described as a ‘limited edition box set’, The Studio Albums Vinyl Collection comes with a numbered certificate of authentication and is presented in a “highly bespoke, lenticular mounted box”. The original packaging has been replicated, so Some Girls includes the 20 cut-outs on the cover, while the sleeve of Sticky Fingers is presented as Andy Warhol’s original design, complete with a working zip with a hidden image underneath and Exile On Main Street comes with a set of 12 original postcard inserts.

The Studio Albums Vinyl Collection 1971-2006 is released on 15th June 2018.

The Rolling Stones Vinyl Box Set

The Rolling Stones ‘Sticky Fingers’The Alternate Album (1970/1971 Outtakes & Unreleased) Studio Recordings

00:00 – brown sugar (early vocal/no lead guitar, mono) 3.42 03:42 – sway (no overdubs, mono) 3.24 07:06 – wild horses (unplugged stereo mix, no overdubs) 5.28 12:34 – good time women (early version of “tumbling dice”) 3.14 15:48 – silver train (early version) 3.23 19:11 – you gotta move (mono-mix) 2.30 21:41 – bitch (original 7” mono-mix) 3.33 25:14 – i got the blues (mono-mix, recorded off monitor) 3.36 28:50 – sister morphine (basic stereo-mix) 5.24 34:14 – dead flowers (Alternate Mix) 4.02 38:16 – all down the line (early rehearsal) 4.18 42:34 – travellin’ man (unreleased song) 5.56 48:30 – potted shrimp (unreleased instrumental) 4.08 52:38 – aladdin story (unreleased instrumental) 3.55 56:33 – leather jacket (unreleased instrumental) 3.27 1:00:00 – wild horses (1969 rehearsal/keith and mick taylor) 1.30 1:01:30 – wild horses (gram parsons on pedal steel guitar) 5.21 1:06:51 – brown sugar (different guitar part) 3.46 1:10:37 – brown sugar (another different mix) 3.46 1:14:23 – brown sugar (original 7” mono-mix) 3.50 1:18:13 – let it rock 2.35 (recorded at leed university, 13 march 1971. was included on spanish “sticky fingers” lp in place of sister morphine, and as a third song on uk-brown sugar 7” original mono-mix)

Did Gram Parsons wrote “Wild Horses.”

Or at least maybe he co-wrote it. maybe he gave the lyrics to Keith. Whatever, I don’t care. Is it Gram’s style of songwriting, we also know the Stones‘ style, both before and after meeting Gram (and musically, Ry Cooder).

Now in the February ’13 issue of Uncut we have Mick’s brother saying it was a Gram Parsons’ composition (“not that he ever got anything for it”). And we have an old quote from Mick himself, “I remember we sat around originally doing this with Gram Parsons…” Etc. Really Mick, you “remember” that much… in ’71? And knowing Gram, I imagine he wasn’t doing anything? Just sitting around, watching?.

No, there’s no proof. Unless you believe in the analysis of art and life as proof.Is it possible that the original lyrics, written by Gram and perhaps modified slightly by the Rolling Stones, were written about/for Gram’s sister Little Avis. Gram Parsons felt tremendous responsibility for Avis after their parents’ death, and overwhelming guilt at times for leaving her. And, no doubt, some guilt over what was happening to him, and that he would also soon be leaving her for good. “Faith has been broken, tears must be cried.” His letters to Avis mirror the thoughts and feelings in the song. The notebook, with the lyrics and chords to Wild Horses wtitten in Grams handwriting that people point to as “evidence” that Gram wrote the song actually points to the opposite conclusion. The lyrics are all written out exactly as they are on the record. When you compose a song you scribble out lines, try new ones and write stuff in the matgins. It looks messy. The version in Gram’s notebook looks more like it was transcribed from another source.

Keith Richards has stated in interviews and in writing that he began writing the song for his son, Marlon, as he was about to leave on tour. He showed the roughed out lyrics to Mick and Mick turned it into a love song. What reason would Keith have to lie about it? He has always gone out of his way to sing Gram’s praises. Mick and Keith are two of the most prolific song writers in the history of popular music history and have more big hits under their belts than you can count. They also have a history of doing lots of covers and giving the writers of those covers their due.

Childhood living is easy to do
The things you wanted I bought them for you
Graceless lady you know who I am,
You know I can’t let you slide through my hands

I watched you suffer a dull aching pain,
Now you’ve decided to show me the same
No sweeping exits or offstage lines
Can make me feel bitter or treat you unkind

I know I dreamed you a sin and a lie,
I have my freedom but I don’t have much time
Faith has been broken, tears must be cried,
Let’s do some living after we die

Wild horses couldn’t drag me away.

Originally published in Gram Parsons InterNational blog, 2013

The Rolling Stones have been a band for more than half a century. So it’s safe to assume that we’ve seen and heard everything possible from them by now. However, in this era of goodie-filled album reissues, the idea of remastered versions of their catalog no doubt has fans salivating like Pavlov’s dog. Having already gifted the world with fantastic repackagings of Some Girls and Exile On Main St, the Stones are one-upping all that, with a brand new pressing of the iconic 1971 album Sticky Fingers (working zipper included). Amongst a handful of bonus tracks on the album is an alternate take of the classic “Bitch,” and this unused version sheds an entirely new light onto just how untouchable The Rolling Stones were in that era.

Recorded during the same sessions as the album version, this extended take is nearly double the length of the used track, but it has a much looser, blusier feeling – in a good way. You can feel a swampy steam coming off of the sound, and once you play this alternate take, the album version almost seems rushed and tight by comparison. Not to say the attack of the original isn’t something to love, but this secondary version is a must-hear experience for anyone that likes their rock hard and loud.

In some ways, the extended take sounds like a band who know they’re at the top of their power, just jamming a song out in its entirety, and giving in completely to one of the most addictive grooves in history. You can almost feel the band grinning at one another as they dig in deeper, pushing the tension higher and higher. This allows the song to have more of a live, fiery feel to it, and the mix offers a much fuller and more robust sound than what you find on the original pressing.

The horns drive much of the energy on the extended take, and as their sound boils over, they seem to explode in different places, accentuating the slightly more experimental guitar lines found throughout. The way that the guitar rings across the first bridge on this take is nothing short of glorious, and for that moment alone, it leaves you wondering why this take wasn’t used.

The vocals are slightly further back in this mix, and you can almost feel Mick Jagger dancing around the microphone, digging on the mood and groove surrounding him. His singing seems more impassioned and raw, and it perfectly encapsulates the off-the-rails energy found from beginning to end on this take.

While this isn’t The Rolling Stones reinventing themselves, it gives a bit more insight into the unique style of country-fried, blues rock they had mastered in the early 70’s, and if the rest of the extras on the Sticky Fingers reissue are this good, it will be the must-buy reissue of the summer.

The Sticky Fingers reissue arrives on shelves June 9, but you can enjoy the alternate take of “Bitch” above

The Rolling Stones are reissuing their classic 1971 album Sticky Fingers on June 8th worldwide (June 9 in North America). It’s coming out, via Universal Music, in a variety of formats including a deluxe double-LP edition that recreates Andy Warhol’s original cover design complete with real zipper. There are also Deluxe and Super Deluxe box sets that include: the alternative version of the chart-topping single “Brown Sugar” featuring Eric Clapton; unreleased interpretations of “Bitch,” “Can’t You Hear Me Knocking” and “Dead Flowers”; an acoustic take on “Wild Horses”, and five tracks recorded live at The Roundhouse in 1971 including “Honky Tonk Women” and “Midnight Rambler.” We’ve got the premiere of an extended, alternate version of “Bitch” which was recorded in 1970 at Mick Jagger’s country home, Stargroves. It features different horn lines than you may know from the original album version. You can stream that below.

The Super Deluxe edition also has a 120 page book with new liner notes and unseen photographs. It’s also got Get Yer Leeds Lungs Out!, a 13-track audio recording of the Stones’ gig in Leeds in March 1971, shortly before their “exile” in France began. The set included versions of the then-brand-new “Brown Sugar,” “Bitch” and “Dead Flowers.”

Pre-orders are available now. You can also get digital versions of the various editions, and if you pre-order the Deluxe edition on iTunes, you get instant downloads of the acoustic version of “Wild Horses.” Rundowns of the different new versions of Sticky Fingers are listed below.


sticky fingers



Original CD
Remastered album with 12 page booklet.

Brown Sugar
Wild Horses
Can’t You Hear Me Knocking
You Gotta Move
I Got The Blues
Sister Morphine
Dead Flowers
Moonlight Mile

Original LP
Remastered album on black heavyweight vinyl plus 12×12 insert.

Brown Sugar
Wild Horses
Can’t You Hear Me Knocking
You Gotta Move

I Got The Blues
Sister Morphine
Dead Flowers
Moonlight Mile

Deluxe 2CD
Remastered album plus bonus CD featuring previously unreleased alternate takes and live performances with 24 page booklet.

1. Brown Sugar
2. Sway
3. Wild Horses
4. Can’t You Hear Me Knocking
5. You Gotta Move
6. Bitch
7. I Got The Blues
8. Sister Morphine
9. Dead Flowers
10. Moonlight Mile

1. Brown Sugar (Alternate Version with Eric Clapton)
2. Wild Horses (Acoustic Version)
3. Can’t You Hear Me Knocking (Alternate Version)
4. Bitch (Extended Version)
5. Dead Flowers (Alternate Version)
6. Live With Me (Live At The Roundhouse, 1971)
7. Stray Cat Blues (Live At The Roundhouse, 1971)
8. Love In Vain (Live At The Roundhouse, 1971)
9. Midnight Rambler (Live At The Roundhouse, 1971)
10. Honky Tonk Women (Live The Roundhouse, 1971)

Deluxe Edition Boxset
Remastered album, bonus CD featuring previously unreleased alternate takes and live performances plus DVD with 2 tracks from ‘Live At The Marquee’.
All housed in a presentation box with 72 page hardback picture book and 4 postcard set.

01. Brown Sugar
02. Sway
03. Wild Horses
04. Can’t You Hear Me Knocking
05. You Gotta Move
06. Bitch
07. I Got The Blues
08. Sister Morphine
09. Dead Flowers
10. Moonlight Mile
01. Brown Sugar (Alternate Version with Eric Clapton)
02. Wild Horses (Acoustic Version)
03. Can’t You Hear Me Knocking (Alternate Version)
04. Bitch (Extended Version)
05. Dead Flowers (Alternate Version)
06. Live With Me (Live At The Roundhouse, 1971)
07. Stray Cat Blues (Live At The Roundhouse, 1971)
08. Love In Vain (Live At The Roundhouse, 1971)
09. Midnight Rambler (Live At The Roundhouse, 1971)
10. Honky Tonk Women (Live The Roundhouse, 1971)

01. Midnight Rambler
02. Bitch
Super Deluxe Edition Boxset
Remastered album and bonus CD featuring previously unreleased alternate takes and live performances.
Plus ‘Get Yer Leeds Lungs Out’ CD, a DVD featuring 2 tracks from ‘Live At The Marquee’ and 7″ vinyl with Brown Sugar and Wild Horses.
All housed in a presentation box with hardback book complete with real zip.
Plus print, poster, 4 postcard set and mini replica of band cut out.
The carefully put together 120 page limited edition book recounts the making of this classic Stones album with an extensive essay by Nick Kent, embellished with previously unpublished images of the band and lavishly illustrated with metallic gold ink throughout.

01. Brown Sugar
02. Sway
03. Wild Horses
04. Can’t You Hear Me Knocking
05. You Gotta Move
06. Bitch
07. I Got The Blues
08. Sister Morphine
09. Dead Flowers
10. Moonlight Mile

01. Brown Sugar (Alternate Version with Eric Clapton)
02. Wild Horses (Acoustic Version)
03. Can’t You Hear Me Knocking (Alternate Version)
04. Bitch (Extended Version)
05. Dead Flowers (Alternate Version)
06. Live With Me (Live At The Roundhouse, 1971)
07. Stray Cat Blues (Live At The Roundhouse, 1971)
08. Love In Vain (Live At The Roundhouse, 1971)
09. Midnight Rambler (Live At The Roundhouse, 1971)
10. Honky Tonk Women (Live The Roundhouse, 1971)

01. Jumpin Jack Flash (Live At Leeds University, 1971)
02. Live With Me (Live At Leeds University, 1971)
03. Dead Flowers (Live At Leeds University, 1971)
04. Stray Cat Blues (Live At Leeds University, 1971)
05. Love In Vain (Live At Leeds University, 1971)
06. Midnight Rambler (Live At Leeds University, 1971)
07. Bitch (Live At Leeds University, 1971)
08. Honky Tonk Women (Live At Leeds University, 1971)
09. (I Can’t Get No) Satisfaction (Live At Leeds University, 1971)
10. Little Queenie (Live At Leeds University, 1971)
11. Brown Sugar (Live At Leeds University, 1971)
12. Street Fighting Man (Live At Leeds University, 1971)
13. Let It Rock (Live At Leeds University, 1971)
01. Midnight Rambler
02. Bitch
Deluxe Double LP Set
Remastered album and bonus tracks featuring previously unreleased alternate takes and live performances on two black heavyweight vinyls’.
Housed in an outer wallet with real zip.

01. Brown Sugar
02. Sway
03. Wild Horses
04. Can’t You Hear Me Knocking
05. You Gotta Move

01. Bitch
02. I Got The Blues
03. Sister Morphine
04. Dead Flowers
05. Moonlight Mile

01. Brown Sugar (Alternate Version with Eric Clapton)
02. Wild Horses (Acoustic Version)
03. Can’t You Hear Me Knocking (Alternate Version)
04. Bitch (Extended Version)
05. Dead Flowers (Alternate Version)

01. Live With Me (Live At The Roundhouse, 1971)
02. Stray Cat Blues (Live At The Roundhouse, 1971)
03. Love In Vain (Live At The Roundhouse, 1971)
04. Honky Tonk Women (Live At The Roundhouse, 1971)

Deluxe Double LP Set – Limited Edition Spanish Cover
Remastered album and bonus tracks featuring previously unreleased alternate takes and live performances on two black heavyweight vinyls.
Housed in an outer wallet with Spanish cover.

Stones Play ‘Sticky Fingers’ In Full

The Rolling Stones performed the entire “Sticky Fingers” album in a surprise show last night (Wednesday) at the Fonda Theatre in Los Angeles. The performance came just ahead of the band’s opening night this Sunday (24th) on the 15-city ‘ZIP CODE’ tour of North America, at Petco Park in San Diego, and the June 8/9 reissue of the classic 1971 album. Very few bands have a better opening number than “Start Me Up” and yet the Rolling Stones do not always open with it, which is probably why it sounds so great when they do. ‘When The Whip Comes Down’ and ‘All Down the Line’ follow in quick succession. What becomes clear very early is that Ronnie Wood is on fire, especially with his slide and blues feel for the songs. As the atmosphere builds it is time for what everyone in the audience is waiting for a classic album played in full “Sticky Fingers” in its entirety.


Fonda Theater
Now, given that the album opens with ‘Brown Sugar’ it would perhaps be foolish to play it at this point in the set. The Stones have always been masters in pacing a show and tonight was no exception. Mick later joked that they were playing the album in the running order of the original 8-track cartridge tape; they were not, but no one cared. They begin instead with ‘Sway’, a song that has only been performed live in the 21st century. It’s followed by ‘Dead Flowers’ which has been in and out of Stones set lists since 1970, and it was totally in the groove. While not played as often on tour as ‘Dead Flowers’, ‘Wild Horses’ has often been included in the set in recent times and it was another wonderful performance of a genuine Stones classic. It’s the subtle lighter songs like ‘Dead Flowers’ and ‘Wild Horses’ that take on epic proportions and the same can be said for ‘Sister Morphine’.

‘Sister Morphine’ debuted on the Bridges to Babylon tour but has not been played since and it was another highlight, a song that no other band could do justice to…light and shade is what the Stones are about these days, and this is the very embodiment of that notion. Even more so, their cover of Mississippi Fred McDowell’s ‘You Gotta Move’. With Keith on 12-string this is quintessential Rolling Stones, reminding everyone that it’s the blues from whence they came and if any band has earned the right to play the blues then it’s the Stones. It was stunning!

‘Bitch’ had Keith wringing every last ounce of magic from one of his most underrated riffs. It’s followed by yet another riff par excellence, ‘Can’t You Hear Me Knocking,’ which was improvised on the original recording and the Stones duly obliged again last night. ‘I Got the Blues’ was one of the ‘growers’ on “Sticky Fingers”, and in the context of last night’s gig this soul classic, redolent of Stax at its best, worked big time; it’s been called a hidden gem, and it is. The original album’s closer was ‘Moonlight Mile and it was the penultimate track of the Sticky Fingers section of the show and Mick captured the feeling of the original perfectly.

And then it was time for ‘Brown Sugar’, a song that has rarely been absent from a Stones’ live gig since it was recorded in December 1969 at Muscle Shoals. It is what the Stones are all about – riffs, brilliant lyrics, and the ability to conjure up atmosphere in a way that makes you think this is a relatively new song being played with all the enthusiasm that new songs seem to bring forth. The Rolling Stones are rock royalty, they are the greatest rock and roll band in the world, and last night they once again proved why – because you need to be passionate about what you do to be believable and no other band can conjure forth the mixture of passion laced with 50 years of experience like they can.

The encore has a few surprises with a doff of the hat to the late great BB King with ‘Rock Me Baby’ before finishing with ‘Jumpin’ Jack Flash’ and a barnstorming ending to the night with Otis Redding’s ‘Can’t Turn Me Loose’.

Last night, the Rolling Stones played a special surprise show at the Fonda Theatre in Los Angeles, with a one-time only set featuring the original “Sticky Fingers” album in its entirety with added  additional Rolling Stones hits.The intimate performance was a celebration of the June 9th re-issue of the “Sticky Fingers” album, one of the most revered albums in the band’s storied catalog, the 1971 classic features timeless tracks such as ‘Brown Sugar,’ ‘Wild Horses,’ ‘Bitch,’ ‘Sister Morphine’ and ‘Dead Flowers’. The Rolling Stones will kick off their 15-city North American ZIP CODE Tour at Petco Park in San Diego on Sunday, May 24.


Start Me Up,
When The Whip Comes Down,
All Down The Line,
Dead Flowers,
Wild Horses,
Sister Morphine,
You Gotta Move,
Can’t You Hear Me Knocking,
I Got The Blues,
Moonlight Mile,
Brown Sugar,
Rock Me Baby,
Jumpin’ Jack Flash,
Can’t Turn You Loose.

Set list

The audience of just 750 for the LA show featured a stellar array of Stones fans and friends, including Jack Nicholson, Bruce Willis, Harry Styles, Kesha, Andy Garcia, Dave Stewart, Joe Pesci, Ben Harper, Leonard Cohen, Patricia Arquette, Eric Idle, Steven Van Zandt, Don Was, Brian Grazer, Lady Gaga, Miley Cyrus and Georgia May Jagger. It’s one of those nights that people will claim to have attended for many years to come and a worthy addition to the ‘I wish I was there’ list of gigs. What next for the Stones? Mick promised ‘Satanic Majesties’ in jest or perhaps a reality statement…only time will tell.

After San Diego, the ‘ZIP CODE’ tour moves to Columbus, Ohio on May 30, then the Stones play in Minneapolis, Dallas, Atlanta, Orlando, Nashville, Pittsburgh, Milwaukee, Kansas City, Raleigh, Indianapolis, Detroit and Buffalo, and then finishes on July 15 in Quebec.

Rolling Stones “Brown Sugar”…Sticky Fingers Sessions...Outtakes



The Time Machine – Destination April 1971

On 23rd April 1971, to great fanfare, the Rolling Stones’ new album “Sticky Fingers” was released; critics and public alike were delighted. In the promo material that accompanied Sticky Fingers the former Beatles PR man Derek Taylor said, “We love you, Rolling Stones, and if you are now not the best living band in the land then who is?” Royston Aldridge reviewing it for Sounds in the UK declared, “Take away the Andy Warhol gimmickry and the whole Rolling Stones imagery, Sticky Fingers stands as the album of the year.”

And there were still eight months left to go!

The public had been waiting almost a year and a half for a new Rolling Stones’ album. It had been started at Muscle Shoals Sound, Alabama in December 1969 and finally mastered in the opening months of 1971, just prior to the band playing gigs in the UK during March on a “Goodbye Britain” tour. All five Rolling Stones had moved to France in the first week of April to escape the kind of punitive taxes that George Harrison had sung about on the Beatles’ Revolver album in ‘Taxman’.

Stones 1971 UK tour
A week earlier Ahmet Ertegun, Atlantic Record’s boss, threw a party and press reception for the Stones at the Port Pierre Canto Club in Cannes. Everyone agreed it was a great album and Rolling Stone magazine summed it up in their review, saying. “My God! The Rolling Stones, as the Sixties drew to a close, were not only still alive, but were kicking the shit out of everything else being done in rock music. Finally, after a long wait, ‘Sticky Fingers’ came out. It is the latest beautiful chapter in the continuing story of the greatest rock group in the world” Britain’s New Musical Express was a little more succinct. “Fame has spread from Mick Jagger’s lips to his zips!”

But what if we could jump aboard that proverbial time machine and be back in 1971 to check out the music scene in Britain as ‘Sticky Fingers’ was released? It was an eclectic scene to say the least. David Crosby’s photo was on the front cover of Melody Maker who declared, “David’s A Solo Star’ thanks to his new album “If I Could Only Remember My Name” that was a new entry on the charts.

Elsewhere on the album charts, Andy Williams’s Home Lovin’ Man was at no.1 with the recently deceased JimiHendrix and “The Cry of Love” at No.2. George Harrison’s “All Things Must Pass” had just dropped from No.4 to No.10. Other new entries included Deep Purple in Rock, Leonard Cohen’s Songs of Love and Hate and Frank Sinatra’s Greatest Hits Vol.2.

On the UK singles chart, T.Rex’s ‘Hot Love ‘ was No.1, hotly pursued by Ray Stevens and ‘Bridget the Midget’ at No.2. Alexis Korner’s band CCS was at No.5 with ‘Walking’, Ringo Starr’s ‘It Don’t Come Easy’ was the week’s highest new entry at No.17. The Rolling Stones’ ‘Brown Sugar’ was in at No.27 and they were behind The Jackson 5 and ‘Mama’s Pearl at No.24 and one behind East of Eden and ‘Jig-A-Jig’ at No.26.

See, we told you it was eclectic…

There were adverts for upcoming tours by Rory Gallagher supported by Jellybread, a “Garden Party’ at Crystal Palace in South London, starring Pink Floyd, Mountain, The Faces (with Ronnie Wood) and Quiver. There was Black Sabbath at The Royal Albert Hall, Soft Machine and Traffic playing a benefit show for Oz magazine and Caravan whose new album In the Land of Grey and Pink was just out, were playing Fox at The Starlight Ballroom in the High Street, Crawley.

Crystal Palace copy
Other smaller gigs included DJ Bob Harris at the Marquee with Skin Alley, Stone the Crows were at Luton Recreation Centre, Mott The Hoople supported by Flying Fortress were at Kingston Poly, The Edgar Broughton Band was headlining Slough Rag Week, Fairport Convention was at the Guildhall in Plymouth and Thin Lizzy seemed to be supporting just about everyone. There were so many bands playing that it would take a book to list them all, but here’s a few others that many will have forgotten, but some may remember fondly. Doctor Marigold’s Prescription, Brewers’s Droop. Flying Fortress, Spring, Steamhammer, Brett Marvin and the Thunderbolts, Patto, Skid Row, Paladin, Heads, Hands & Feet, Tir Na Nog and May Blitz. Every one of those bands released records, in the plural, and it all bore testament to the vibrancy of the music scene in the UK.

Elsewhere in the Melody Maker there was a piece declaring, “Genesis are going to cause outrage and chaos in the coming year. Already they are breaking through with a blend of showmanship and original music that has not moved the public so much since the inauguration of the Woolwich ferry.” Genesis had released Trespass in October 1970 and were soon to go into the studio to record the follow up, Nursery Crime.

mcGuiness Flint
There were reviews and adverts in the music papers that week for new music from, Humble Pie and their new album, Rock On:Elton John’s, Friends: Rory Gallagher’s, Rory:Man’s self titled debut: Yes’s second album, Time and A Word: Cochise’s, Swallow Tales, and McGuiness Flint’s single, ‘Malt and Barley Blues’

And we’ll leave the last word to Mick Jagger who was answering questions on the Rolling Stones new record label that had released ‘Brown Sugar’ a week earlier.

“The band is not retiring just because we’re going away. We are not going to stay in the South of France – we are going to be touring, America and I hope Japan, Bangkok, Ceylon, Persia and hope to be back touring Britain sometime next year. We will remain a functioning group, a touring group, a happy group.”

Get Your Sticky Fingers On The Sticky Fingers Reissue


Sticky Fingers was over 500 days in the making; from when recording began to when it was originally released in April 1971 – anticipation from fans was intense. The anticipation had been heightened by a UK tour in March, the filming of a show at London’s legendary Marquee Club and by the fact that The Rolling Stones had announced that they were going to live in France.

Upon its release the album was greeted with delight by fans and critics alike. As Rolling Stone magazine said, “It is the latest beautiful chapter in the continuing story of the greatest rock group in the world,” The reissue of “Sticky Fingers” has been over 16,000 days in the making, The original Sticky Fingers is a perfect record. Great music, an album cover that’s iconic and the story around its making that has added to its appeal. Many classic Stones’ records were recorded in America, at both RCA’s studio in Hollywood and at Chess Records in Chicago, but for Sticky Fingers the band chose a far less glamorous studio, one in the Southern States that only those in the musical-know had heard of – Muscle Shoals Sound in Sheffield, Alabama.

Having finished their tour of the US in December 1969 the Rolling Stones flew to Muscle Shoals where they recorded three songs that are at the very heart of the album – ‘Brown Sugar’, ‘Wild Horses’ and ‘You Gotta Move’. As Keith later said, “I thought it was one of the easiest and rockingest sessions that we’d ever done. I don’t think we’ve been quite so prolific…ever.” The band then flew from Muscle Shoals to San Francisco on 5th December, and 24 hours later they played their infamous free concert at Altamont.
Over the course of the next year the band worked on more recordings at London’s Olympic Studios and at Mick’s country house, Stargroves using the Stones Mobile, to capture the remainder of the tracks that make up the album.

But 1970 was not all about recording, far from it. There was a European tour and behind the scenes there was much changing. The Stones had decided to leave Decca Records at the end of their contract period and to start their own label that was to be funded by another record company; after much negotiation the band decided to go with Ahmet Ertegun and Atlantic Records.

Forming their own label meant coming up with a name and an identity – the name was simple, Rolling Stones Records, but the identity and the logo took a little longer. As we now all know it was the famous ‘tongue and lips’ that became that identity and has since become the most recognisable band logo in the world, as well as one of the most well known brands.

Given some of the issues that the band had faced with earlier record covers they were determined to have an album that looked they way they wanted and so Mick and Charlie set about working with Andy Warhol to come up with a concept that the band loved. The album with its fully working zip on the original release is now one of the best-known covers in the world; at the time the New Musical Express was prompted to write, “Fame has spread from Mick Jagger’s lips to his zips.” It was all part of the single mindedness with which the Rolling Stones went about getting this record, just right.

Sticky Fingers Deluxe Vinyl
By the time mixing was completed in early 1971 the band had two things on their collective minds. A short tour of the UK and a move to France, a tour to say farewell and a move necessitated by financial mismanagement over a long period that would have bankrupted the band had they stayed in Britain.

And so it was that on 16 April 1971 ‘Brown Sugar’ came out in the UK and a week later Sticky Fingers was released around the world. 44 years later, on 26 May 2015 in North America, and a day earlier in the rest of the world, Sticky Fingers is to be reissued in a variety of formats.

Of course there is the original album on both CD, vinyl and as a download but there are a number of other releases that will include previously unavailable material contained within the Deluxe and Super Deluxe formats. These include the alternative version of ‘Brown Sugar’ featuring Eric Clapton along with unreleased interpretations of ‘Bitch,’ ‘Can’t You Hear Me Knocking’ and ‘Dead Flowers’, and an acoustic take on the anthemic ‘Wild Horses.’

Sticky Fingers Super Deluxe Box
The Super Deluxe edition will include, ‘Get Your Leeds Lungs Out,’ the 13-track audio recording of the Stones’ gig in Leeds in March 1971. There’s also two numbers from the band’s Marquee Club show of 26th March, 1971 on DVD. The Super Deluxe Edition includes a beautiful 120 page hardback book complete with real zip, featuring new liner notes and many rare and unseen photographs from the era plus a print, postcard set and more.

Ahead of the highly anticipated reissue of  the 1971′s album  “Sticky Fingers”, The Rolling Stones have released a previously unheard acoustic version of  the song “Wild Horses.” 

The song is one of the most beloved in the Rolling Stones’ canon, and an indispensable document of classic rock and roll. The new remaster and arrangement puts it in a whole new context: Now it’s even more tender, emotionally bare and Mick’s vocals are given a new clarity and intimacy.

More poignantly, the song takes on an even more haunted feeling, given that it comes in the wake of the deaths of both Jagger’s girlfriend L’Wren Scott and the band’s longtime saxophonist Bobby Keys.

“For three days in December 1969, the Rolling Stones stopped into Muscle Shoals studios in Alabama and managed to lay down three songs, one of which was ‘Wild Horses,’” writes Jim Beviglia in our Behind The Song feature. “The composition of this plaintive ballad was begun by Keith Richards, whose first child was born in August 1969, causing Keith regret about going out on the road and leaving the boy behind.”

“It was one of those magical moments when things come together,” Richards wrote in his 2010 autobiography Life about the song’s genesis. “It’s like ‘Satisfaction.’ You just dream it, and suddenly it’s all in your hands. Once you’ve got the vision in your mind of wild horses, I mean, what’s the next phrase you’re going to use? It’s got to be couldn’t drag me away.” The album is out May 26th.

sticky fingers

The Rolling Stones Say Goodbye To All That

The Rolling Stones’ “Sticky Fingers” album was a long time coming. It started life in Muscle Shoals sound in Alabama in early December 1969 and after marathon recording sessions in London and at Mick’s house in the country during 1970 and mixing in early 1971 it was finally ready for release.

The Stones have always been different and rather than go on the road to support the album’s release after it came out they decided to tour the UK in March 1971, a full month before “Sticky Fingers” went on sale. This was not necessarily as they would have liked it, as for ‘tax reasons’ they had decided to move to France and needed to have left Britain before the new tax year began in the first week of April.


All this explains why on 4th March the band was in Newcastle City Hall for their opening night. This was the band’s first tour of the UK since the autumn of 1966 and apart from the famous Hyde Park concert in July 1969 they had only played at an NME Poll Winners’ Concert in 1968 – and then just a couple of songs – and so there was a lot of excitement among fans anxious to see the band.

The UK tour was a nine city, sixteen show, and to buy tickets for the first show in Newcastle fans waited overnight, some waiting 16 hours – a long time to wait outside during March in the North of England. The band travelled to Newcastle by train, at least most of them did; Keith missed both trains that took the other Stones north from London and so he was driven to Newcastle with Gram Parsons, arriving only minutes before the show.

Among the songs they played on their first show were ‘Dead Flowers’, ‘Bitch’, ‘Can’t You Hear Me Knockin’, ‘Wild Horses’ and ‘Brown Sugar’, all of which came from Sticky Fingers. However, for the remainder of the tour they dropped ‘Can’t You Hear Me Knockin’ and ‘Wild Horses’. The band were on exceptional form for these shows – Bobby Keys and Jim Price had become the group’s resident horn section, and Nicky Hopkins was playing piano with them onstage for the first time ever on an entire tour, with Stu still doing his boogie piano on numbers that had no minor chords.


Throughout the tour they played two shows each night, except in Brighton and Leeds and the ticket prices were £1, 85p, 75p, 65p, with 50p tickets available in some places. British Blues rock band, The Groundhogs were the principal support band on the tour but Noir, a little remembered band were on the Roundhouse show.

As usual the media had a field day in expressing their views on the band and we have a couple of favourites from the kind of august organs that you may not have expected to be reviewing the Stones back in 1971. According to the Financial Times, “Jagger might be the last of the great white pop entertainers. Those watery eyes stared out at the audience like a fish in an aquarium tank. What we will miss, particularly if the Stones do not tour here again is their showmanship. The Stones are a piece of top social history.”

Meanwhile The Spectator opined, “The band are playing with as much guts and excitement as they ever have done, and all of them with the exception of Mick Taylor are now pushing 30 (though Jagger at 50 is a curiously inconceivable image)”

The Record Mirror, a more likely place for a write up of the tour suggested, “The Rolling Stones proved once again that they are still the best little rock and roll band in the land.”

The Farewell UK Tour in 1971 was in fact a club tour, so the sound and atmosphere of its gigs were very different from the arena tours in 1969 and 1970. Here we have the famous Leeds University gig, in the best audio (mono soundboard) quality available.
1. 0:15 Dead Flowers; 2. 4:40 Stray Cat Blues; 3. 8:35 Love In Vain; 4. 14:50 Midnight Rambler; 5. 27:50Bitch; 6. 32:00 Introduction; 7. 33:00 Honky Tonk Women; 8. 36:15 (I Can’t Get No) Satisfaction; 9.41:25 Little Queenie; 10. 46:05 Brown Sugar; 11. 50:20 Street Fighting Man; 12 54:40 Let It Rock (encore in stereo)

rollingstones wild horses

The song was recorded in 1969 but wasn’t released until 1971 due to the band’s legal tussle with their manager. The band’s normal piano player bowed out of the session because he didn’t like playing minor chords. And the track was originally intended by the guitarist to be a song about missing his newborn son, only to be hijacked by the lead singer, who turned it into a depiction of a burned-out relationship.

For The Rolling Stones, such drama has always been par for the course. That they overcame all of that and turned out a gem like “Wild Horses,” the song saddled with all of the aforementioned obstacles, is a testament to their talent, chemistry, and unfailing ability to rise above all the chaos, self-induced and otherwise.

For three days in December 1969, the Stones stopped into Muscle Shoals studios in Alabama and managed to lay down three songs, one of which was “Wild Horses.” (“Brown Sugar” was one of the other two, ) The composition of this plaintive ballad was begun by Keith Richards, whose first child was born in August 1969, causing Keith regret about going out on the road and leaving the boy behind.

“It was one of those magical moments when things come together,” Richards wrote in his 2010 autobiography Lifeabout the song’s genesis. “It’s like ‘Satisfaction.’ You just dream it, and suddenly it’s all in your hands. Once you’ve got the vision in your mind of wild horses, I mean, what’s the next phrase you’re going to use? It’s got to be couldn’t drag me away.”
So Richards wrote the music, using a 12-string acoustic guitar to really draw out the melancholy in those chords, and the chorus. He then handed the song off to his songwriting partner-in-crime Mick Jagger to complete the verses. And that’s when the track took a turn away from Marlon, the name of Richards’ little boy, and perhaps veered toward Marianne, as in Faithfull, Jagger’s on-again, off-again lover of that era.

Jagger recalled his contributions to “Wild Horses” in the liner notes to the 1993 Stones’ anthology Jump Back: The Best Of The Rolling Stones. “I remember we sat around doing this with Gram Parsons, and I think his version came out slightly before ours,” Mick said. “Everyone always says it was written about Marianne, but I don’t think it was; that was all well over by then. But I was definitely very inside this piece emotionally. This is very personal, evocative, and sad.
That heaviness hangs in the air throughout the song. You can hear it in the lazily-strummed guitars of Richards and Mick Taylor, in Richards’ just-right electric solo, in Charlie Watts thudding fills. Jim Dickinson filled in on the tack piano when Ian Stewart famously begged off playing the sad chords. As for Jagger, he holds back the histrionics and plays it straight,
The opening lines hint at a simpler time in the couple’s life together: “Childhood living is easy to do/ The things you wanted I bought them for you.” As time passes, however, they become inseparable in anguish as well: “I watched you suffer a dull aching pain/ Now you’ve decided to show me the same.”As bad as things get though, the narrator’s loyalty never wavers. “You know I can’t let you slide through my hands,” Jagger sings at the end of the first verse. Perhaps alluding to the drama in her life, he uses the metaphor of the stage to describe his steadfastness: “No sweeping exits or offstage lines/ Could make me feel bitter or treat you unkind.” And there’s that chorus, Richards joining in for high and lonesome harmonies with Jagger.

Gram Parsons’ version with the Flying Burrito Brothers does indeed predate the Stones’ release of the song on Sticky Fingers by a year, giving rise to unsubstantiated rumors that he deserved some songwriting credit. Among the many cover versions of the song that have been done through the years, The Sundays of “Here’s Where The Story Ends” fame checked in with a particularly memorable take, thanks to the ethereal vocals of Harriet Wheeler.

The final chorus of the song ends with Jagger changing the kicker line. Instead of the horses dragging him away, he sings, “We’ll ride them someday.” Some might say it’s a hopeful ending, but it also sounds like the kind of thing someone would say as parting words to a loved one they won’t be seeing again. This kind of poignancy isn’t what we often consider when we think of The Rolling Stones.