I guess when it comes to giving Mick Jagger a present, you got to think the guy has just about everything.
I mean what could you possibly give him he either couldn’t buy himself or doesn’t already own?
Clothes. Nah.
Wine. Boring.
Hmmmmmm, how ’bout a nice watch?

Well that’s exactly what Ahmet Ertegun gave Mick Jagger back
sometime in the early 70’s.
An Eterna Matic Concept 80 wristwatch.
He had engraved on the back, Mick Here’s to a Million or 2? Ahmet.
My guess he was talking about the sales of an upcoming album.
Maybe Sticky Fingers or Exile given the time period.
Since at this point The Stones had just recently come on board with Atlantic, it’s not unusual Ahmet was hoping for a long and successful relationship with them.

Ahmet co-founder and executive of Atlantic Records used his personal skills in negotiating the signing of The Rolling Stones to Atlantic when they were shopping for a record company to distribute their independent Rolling Stones Records label.

He personally “did the deal” with Mick Jagger, when other labels had actually offered the band more money.

This watch was later donated by Jagger to an auction run by LA radio station KMET-FM back in 1973 in a week long auction they ran to raise money for the victims of the Nicaraguan Earthquake.
Mick was of course married to Bianca at the time, and her having family there got Mick very involved in this worthy cause.

The Stones gave a benefit concert in LA and donated at the proceeds to help the victims.

A unique piece of memorabilia owned by Jagger with a great history behind it .

A RARE TICEKT STUB FROM THE STONES NICARAGUAN BENEFIT SHOW IN LA.

Just finished reading The Truth by Terry Pratchett, another of his Discworld series. I feel completely embarrassed to discover that he’s been one of the most popular novelists in the UK (probably only barring J.K. Rowling, really) for decades.

It’s a bit how I felt when I didn’t really get the Stones until my twenties. Oh, sure, I liked the Stones, but I didn’t really get them. Then one day I was listening to Miss You on one of those wretched cross-country road-trips where you can only get bullshit classic rock, and it hit me like a ton of, well, stones: “Oh, you —-ing idiot, there’s a reason this band is considered one of (if not) the greatest ever. Because they are. I mean, that bassline alone…!”

Sometimes wisdom takes its sweet-ass time while you’re embarrassing yourself.

The point is, Terry Pratchett can write like very few people can. The fantasy version of Douglas Adams (although Pratchett is actually a few years older than Adams would have been- they were contemporaries) but with more a humanist beauty to his writing- even his evil-doers have a sympathy and forgiving humorous tick to them. And even though many of his endings tie their knots just so, it never feels contrived, forced or trite. It feels as it should be.

That’s quite the slight of hand. And he’s so very English. Which is why he was knighted, I suppose.

In the past couple of years, I’ve read The Truth, Guards! Guards!, Going Postal, Soul Music, and Making Money. Only 33 more to go!

Terry also was diagnosed with Alzheimers in  2007. Anyone wishing to make a donation in his name can do so at Match it for Pratchett.org.

Modest Mouse—The Moon and Antarctica
Epic, 2000

Despite the overwhelming success of 2004’s Good News for People Who Love Bad News, The Moon and Antarctica still seems to inspire the most resounding acclaim from longtime Modest Mouse fans. It highlighted a point in Modest Mouse’s storied career where, even though radio still wasn’t really playing them, they were becoming impossible to ignore. Their enormous fan base was built almost solely from extensive touring, and when a band plays together that much for that long, the music can reach insane highs. Moon proved two things about Modest Mouse to the world: 1) They weren’t going to be fading away any time soon, and 2) They were capable of much more than ripping off Black Francis. Those things were important to establish, but the record is actually much more than a stone of proof—though thematically similar to MM’s other albums, Moon has the ability to work on many levels. There’s a sort of code of ethics to its moral ambiguity, a kind of spirituality to its atheism. It’s a very human record that deals with human afflictions, while not failing to comment on how silly many of these afflictions are and how badly they cause some people to screw up. “3rd Planet” and “Dark Center of the Universe” have both become anthems on this topic in their own right, boasting melodic yet dreary guitar lines that tend to inspire ornery grins—the stuff from which rock and roll is brewed. Amazingly, Modest Mouse never lose themselves in this process of reinvention, a sure-footed attitude that no doubt helped to poise them for the great takeover. (Note: Though this album was reissued in 2004 with a new mix and new artwork, all the info in this review is based on the original 2000 release.)

My Morning Jacket—Z
ATO/RCA, 2005

Like Summerteeth did for Wilco in 1999, 2005’s Z changed how the world listened to My Morning Jacket. It showed the band taking their alt-country upbringings, slingshotting them as far off into the mountains as they would go, and replacing them with a more psychedelic-pop-oriented approach. Jim James’ songwriting may have taken a more upbeat turn on this record in favor of commercial appeal, but he sounds more driven than he ever has before or since. Plus, the songs on Z are still as emotionally immediate as his earlier gospel-inspired work; and on top of that, it’s easy as hell to rock out to them. “Anytime” sounds like a radio hit in all the best possible ways—the verse feels like a chorus, the chorus feels like a verse, and the bridge feels like Jerry Lee Lewis somehow avoided self-sabotaging his career back in the 50’s. “Off the Record” is probably what Sticky Fingers would have sounded like with some more reggae thrown in, with an extended end-solo a la “Can’t You Hear Me Knocking?” that feels more tip-of-the-hat than uninspired rip-off. James’ ability to humbly wear his influences on his sleeve while still creating unique rock music is one of the many things that make MMJ so much fun. (Note: This was the RGH selection for Best Album of 2005.)

Portastatic—Be Still Please
Merge, 2006

Superchunk may be the banner under which Mac McCaughan achieved his status as indie cult auteur, but Be Still Please (the 2006 offering from Portastatic, McCaughan’s solo project) is one of the finest records he has made—bold proof that he not only deserves more credit as a songwriter, but is in fact one of the indie generation’s greatest. As an album, it is a departure from everything McCaughan has done in any of his projects, boasting Dylan-esque arrangements and loads of unorthodox instrumentation like clarinet, oboe and bassoon. Given this fact, as well as the ultra-personal nature of the songs, one could wonder why McCaughan didn’t choose to release the album simply under his own name. It probably has something to do with the fact that—despite the overall melancholy tone of Be Still Please—he is still too rock and roll to pull that move. He could easily become the old guy who is still making music because a handful of people like him enough to buy his records, and to make it easier for them, he records and performs Michael McDonald style. But, as proven by the track “You Blanks”, he is anything but that guy: “All my songs used to end the same way/Everything’s gonna be okay/You fuckers made that impossible to say!” Whomever those “blanks” are, the tone is not an accommodating one, and it’s clear from this album’s beautiful beginnings to its whispery end that McCaughan is doing this for himself.

Hello clouds and fog! My father and I are going Christmas shopping today, then tonight I am going to a bonfire with all of my old high school friends. It should be a good day.

Here are some images to start your day…

both from We Heart It.

Marianne Faithful is everything I wish I could be…

photos from We Heart It and Some Required

I wish my eye-makeup would look like that. And I wish I had her clothes, and her ex-boyfriend. I also wish I could wear bangs.

For years my inspiration was Anita Pallenberg, Keith Richards love for many years, until I really took notice of Marianne Faithfull. She is just so beautiful. I always wish I was around during the 1960’s so I could have experienced the Rolling Stones when they were young.

(Diet) Coke and Sympathy is a great blog that helps me get through my days of longing to be the muse of one of the Stones. There one can find photos and articles about the two lovely ladies, as well as Mick and Keith. It is a brilliantly comprehensive site.

P.S. The new book Let It Bleed: The Rolling Stones, Altamont, and the End of the Sixties came out earlier this month. I flipped through it at a Barnes & Noble last weekend and definitely think it is a necessity. I have already seen many of the photos of the band, which was a bit of a bummer, but the text was rich. The book seems to tie the history and culture of 1969 together with the Rolling Stones, ending at the Altamont free concert, with that little mishap with the Hell’s Angels.

With thanksgiving just a day away. What are advertisers and marketers doing to prepare for black Friday? Has anyone seen any interesting ads they would like to share?

I came across this site this morning. Black Friday Ads Check it out when you get a chance. It’s amazing how hectic this day can be. People standing in long lines in the cold early morning of Black Friday.

Driving past target, you would think The Doors were having a renuinon concert with the Rolling Stones . Let me know your thoughts on this post and feel free to ask me any questions that come to mind.

As always,

The Cottle

This album (on vinyl no less) has been in my possession even less time than the Dead Weather effort.  I picked it up online (from the mighty Bloodshot Records) along with Justin Townes Earle’s latest release.

These guys share a lot more in common with Justin’s pa Steve’s rockier work than with that of his progeny. 

Their sound’s well and truly in the country-rock domain.  This sounds like the album The Rolling Stones should have been making for the past 25 years or so.

It isn’t quite the southern-rock of The Black Crowes, as it has slightly less swagger (but only slightly).  If anything, it’s probably most like the Drive-By Truckers when they turn on the mellow.

Lest this whole review be solely name dropping, I can tell you that there is a lot of slowhand guitar, plaintive vocals, and some decent slide and pedal. 

If you wandered past a pub on a Thursday evening, or a Sunday afternoon and these guys were playing, pulling up a stool and a beer would be irresistable. They also go very well with muffin-baking and the first beer of one’s birthday (for that’s what I’ve been doing).

File under: A Brazilian that doesn’t hurt on bit

I have loved the Rolling Stones literally since birth. I spent my toddler days wobbling around to Jumpin’ Jack Flash. I’m not joking. Keith Richards is my favorite human in existence.

The tickets have already sold out for the 40th Anniversary of Glastonbury Festival, and no sooner have the organisers finished counting the millions they’ve made they thrust this on us: U2 will headline next years festival. Now I had every intention of going, but unfortunately missed out on tickets. Thank god. Despite their rather overblown success U2. to me, are one of the most over rater bands of all time, and certainly not a good choice for a celebration of all that is Glastonbury!

Taking place in June next year, it will be the Irish acts first appearance at the festival over their 36 year careers. Of course they are delighted, no doubt part of Bono’s ever increasing plan to take over the world. Acts rumoured to be accompanying them include Muse, Coldplay and Sir David Bowie, so it can only get better really.

But then again, The Rolling Stones have been rumoured as well, so it could get worse as well…

Director and writer Richard Curtis(“Notting Hill” and “Four Weddings and a Funeral”) brings to life the story of outlaw DJs who defied the British government for all that is worthy: drugs, sex and rock ‘n roll.

The government banished modern pop and rock ‘n roll from the mainland radio stations. Rock DJs took to the high seas to broadcast from ships docked in the North Sea. The film follows the fate of one pirate radio station called Radio Rock. They would play the most popular artists of the day: The Beatles, The Kinks, The Rolling Stones and The Yardbirds.

The story begins with Carl(Tom Sturridge) arriving on the Radio Rock ship because he had been expelled from his school for smoking cigarettes and marijuana. He claims his mother sent him there to try a different way of life with his Uncle Quentin(Bill Nighy). He meets a ragtag crew who DJs twenty-four hours a day from the ship, including the ship’s cook, Felicity(Katherine Parkinson), who plays a lesbian. Carl bunks with a man called Kevin, who is nicknamed Thick Kevin(Tom Brooke) because he doesn’t process information that quickly (Kevin wore an Easter bunny costume to Christmas dinner). This is a coming of age story for Carl who learns about rock ‘n roll and loses his virginity(while it was being broadcast live).

The station becomes threatened when the prudes at the BBC ban advertising on pirate radio stations become illegal. In response a legendary, sexy and feisty DJ named Gavin(Rhys Ifans) returns from the United States to draw in millions to listen to Radio Rock (It’s appropriate “Jumpin’ Jack Flash” by the Rolling Stones is used to introduce Gavin).

Eventually, the government deems it illegal for any ship to broadcast rock ‘n roll. Of course, Radio Rock defies the orders and continues to rock out. They try to make a getaway when the prime minister’s minion goes after them, but their engine blows up. The ship begins to sink into the North Sea.

The arrangement of cast members and intertwining of comedic episodes made this film very enduring. January Jones plays Elenore, a woman who pretends to love another DJ(Chris O’Dowd) so she can sleep with Gavin. And, another DJ named Midnight Mark claims his secret with the ladies is silence and one-liner “So, shall we get to it?”

The soundtrack which features major rock ‘n roll hits help the film’s appeal where it lacks fluidity.

I really enjoyed “Pirate Radio” and have seen it twice. Overall though, “Pirate Radio” has  some truthful kernels about pirate radio off the coast of Great Britain, but in reality most of it is fictional.

Rolling Stones have re-released their song ‘Wild Horses’ after Susan Boyle’s rendition on The X-Factor was viewed by approximately 15 million viewers last night.

The track, originally featured on the Stones’ 1971 album ‘Sticky Fingers’, has been released as a digital package featuring the aforementioned album version and a live cut taken from their ‘Voodoo Lounge’ Tour in 1995.

‘Wild Horses’ is released today on all major download sites, whilst Boyle’s version appears on her debut ‘I Dreamed A Dream’, which became the most pre-ordered album of all time.

Latest music and film news on Uncut.co.uk

A long overdue review of Biffy Clyro, Cardiff University Great Hall, October 25, 2009…

After a long, long weekend of (Sŵn) festival fun I was more than ready to call it a day and go to bed, with the intention of completing an impending deadline the next morning. However, I had booked my Biffy Clyro tickets months and months in advance and there was no way I was going to miss it. So with a can of Red Bull in tow I headed off to the front of the SU only to be unexpectedly met by a crowd of snogging neon-clad 14 year-olds queuing for Chase & Status, before making my way to the back, and correct entrance…

The first incarnation of Biffy Clyro was formed in 1995. The band hail from Kilmarnock, just outside of Glasgow, and is made up of childhood friends Simon Neil (vocals/guitar) and twins James (bass/vocals) and Ben Johnston (drums/vocals). United by a love of underground, experimental rock and post-hardcore bands such as Braid and Karate, along with the more famous Guns N’Roses and Metallica, the band soon sharpened their own unique sound, a strangely beautiful mixture of off-kilter tempos, impulsive guitars, untamed choruses and raw screams, all jumbled together to create a sound that sat far apart from anything else being recorded at the time, both in character and – thanks to their bold refusal to uproot from their hometown for the wider music community of London – geographically too.

The band’s first three albums – Blackened Sky (2002), The Vertigo Of Bliss (2003) and Infinity Land (2004) – arrived in an onslaught of creativity, a record released every year and relentless touring assembled a small but devoted legion of followers. Biffy Clyro’s ranks grew even more when their more commercial album Puzzle (2007) was released, stunning listeners with its achingly personal, rich and complex take on rock anthems. The band soon found themselves playing Wembley Stadium with Muse, headlining the John Peel Stage at Glastonbury and performing with The Rolling Stones. U2 even supported them at a special Little Noise session at London’s Union Chapel, although the band claim their biggest musical highlight came when they headlined in front of a hometown crowd at Glasgow’s SECC.

Cardiff University’s misleadingly named Great Hall is not exactly the SECC. Having seen Biffy Clyro twice before in 2003 and 2007, and at much bigger venues, it seemed ironic that the band has never been bigger, yet this venue was the smallest I’ve seen them in.

Disappointingly main support Manchester Orchestra were unable to play the first batch of Biffy shows due to previous touring commitments, which meant that Pulled Apart By Horses were the only support. Having seen them at (Sŵn) only two days before it was easy to make comparisons between the two performances. Although the band played the same set list they as their (Sŵn) gig, the performance was completely different. Although they definitely have the presence to fill a large stage, I much preferred their set at Clwb Ifor Bach as their songs sounded much louder, and the closer proximity of the band and audience helped to create most of the energy at the gig. That said, the audience responded well to their songs and on-stage banter and the Leeds four-piece certainly fired up the crowd for the main act.

Kicking off with That Golden Rule- the first single from the band’s latest album Only Revolutions- along with an epic display of lights, set the bar for the high-paced energy of the rest of the gig. Due to the band being invited to support Muse once more on their UK and European tour, Biffy Clyro had the bring forward the dates of their own tour. However, with their Only Revolutions album due for release halfway through the rescheduled tour dates, a lot of their set was brand new to the audience. Although hearing songs for the first time live is an amazing experience, it was also one of the gig’s weaker points, as fans were expecting more of Biffy Clyro’s more familiar back catalogue. This, combined with the fact that the band only played four songs from their first three, and infinitely better albums, meant that most of my favourite Biffy Clyro songs, and old live favourites such as Wave Upon Wave Upon Wave, Toys Toys Toys Choke Toys Toys Toys, Convex Concave, Eradicate The Doubt and My Recovery Injection were discarded in exchange for almost the entirety of Puzzle.

A less-hairy Simon Neil showcasing beautiful melodies and his even more beautiful tattoos...

Although the band played an amazing set to a packed venue, it was probably the least enjoyable gig I’ve seen them play, partly due to the overwhelming presence of new, unknown material, and partly due to the band’s lack of interaction with the audience. Although I realise that the main reason for touring is to promote new releases, the fact that aside from the two singles, The Captain and TGR, no one knew the songs, and the titles were not even introduced, meant that there was a slight air of confusion from the audience. Only two words were uttered the whole hour and 45 minutes the band were on stage, with Simon Neil saying “Awesome” and then “Beautiful” after the crowd had finished singing the melodic endings of Machines and All The Way Down. There was rightly a lot of love in the room for the band, so luckily this lack of interaction did not detract away from the incredible music they were playing.

Whether playing their metal epics, or exposing the more vulnerable side of their music with softer personal ballads, Biffy Clyro never fail to disappoint musically. Although the set list seemed to be aimed at the newer legions of Biffy fans, with the last song of the encore being their most commercially successful single Mountains, the band were still on top form, and demonstrating how they have managed to remain on top of their game for nearly 15 years. With the release of Only Revolutions and their support slot with Muse this winter, Biffy Clyro look set to increase their fan following even more over the next year. Only time will tell whether, which such an enormous back catalogue of amazing songs, the band will ever decide to unleash many of their earlier songs live again…

As ever, WordPress is not letting me upload any of the videos I took… these will be up soon, promise!

Popdose Report:

Click here to go to Popdose to check the Rolling Stones “Live With Me”, Queen “Lazing on a Sunday Afternoon”, Paul McCartney & Wings “Let Em’ In”…plus more good tunes from other genres.

The Rolling Stones

The British Invasion remains one of the most relevant music movements of the sixties. British pop and rock ‘n’ roll bands, already sensations in their home country, rose to take the US music scene by storm. This movement was led in 1964 by the prominent migration of ‘Beatlemania’ across the pond. The Beatles were first played on American radio on December 17, 1963, and were duly received with vast amounts of praise and curiosity. Capitol Records was forced to release the single I Want To Hold Your Hand three weeks early. This became a precursor to their immense and immediate popularity, a phenomenon that would continue until the band’s end in 1970.

The Beatles – I Wanna Hold Your Hand

But The Beatles weren’t alone in spreading Britain’s unique musical talent, others followed; The Rolling Stones, The Kinks, The Who and The Animals became ubiquitous in the US, spreading the reach of their influence across the globe. Bands such as these firmly established the genre of music they represented, primarily rock and roll, along with the legitimacy of the British music industry. Bands of the British Invasion inspired American performers, some of whom began to mimic the style, and periodically stifled other emerging genres. This wave of ‘Britishness’ occupied the US music scene in its entirety, up until 1967.

The Rolling Stones – Not Fade Away

The Ministry of Sound at Elephant & Castle, London UK

Just like The Beatles headed the British Invasion, Ministry of Sound has remained at the forefront of club music for eighteen years. The nightclub, founded in South London in 1991, was originally dedicated to the promotion of US house music in the UK. It opened in a disused bus garage and was fast to gain popularity. Now, Ministry of Sound presents the very best of genres such as house, electronic and dance, attracting international DJs and a diverse crowd that all share a common love of music. Not only was it successful in heralding the arrival of US house music, but it has cultivated that success by always presenting the freshest new beats.

However, unlike The Beatles and the British Invasion movement, Ministry of Sound has extended its popularity through more than one medium of influence. Over the years, Ministry has evolved from a venue to a global brand; this includes the regular release of CDs, a TV station, a radio show, and various paraphernalia such as clothing and other merchandise. Additionally, a second club has opened in Egypt. Also dissimilar is Ministry’s ability to adapt to the times. It is widely thought that the British Invasion lasted for a mere three years. Comparatively, Ministry celebrated its eighteenth birthday two months ago and has thrived for nearly two decades. The Ministry of Sound label began as a key component of the internationalization of US house music; it now stands as a movement in itself, one that celebrates a broader genre of electronic music on a global scale. Here’s to another eighteen years of prosperity.

Plumb – In My Arms (Bimbo Jones Extended Remix)

Anna Christofferson

Alright, another one of those cop-out blogs.  I’m gonna do some more reviews/full-length things soon though, promise…

1 – Bob Dylan’s new Christmas record, Christmas in the Heart, gets a thumbs up from DSH.  Dylan lets it all hang out as he croons scarily standard Christmas carols, backed by a traditional choir of voices that make his near-Waitsian croaks all the more noticeable.  Somehow it works, probably because of the sheer lack of pretense here–it’s not Dylan thinks he is gonna replace Bing Crosby…

2 – David Rawlings Machine, which inverts the arrangement Gillian Welch & David Rawlings usually have, just released their debut record, A Friend of a Friend.  It’s a good-to-great cover that is simultaneously more expansive and more laidback than the GW-fronted outings.  Check out the super-acoustic readings of “To Be Young” (Ryan Adams co-write), “I Hear Them All” (OCMS co-write) and the “Method Acting-Cortez the Killer” melody (Bright Eyes & Neil Young, respectively), as well as the soulful, Dylanesque closing number “Bells of Harlem.”

3 – I am gonna be working on reviews of two local releases, Austin Crane’s A Place at the Table and American Gun’s Devil Showed Me His Hand, very soon.  Both are amazing releases which are available on iTunes, although the AG record isn’t officially being “released” until December 1st, followed by an official CD release show at the Art Bar December 5th.  These two releases have sent this year in local music over the top for me, and will both appear on my “Best Of” 2009 series coming up early in the New Year…

PS – American Gun has a YouTube page where you can view some concert footage from earlier this Fall at The Handlebar in Greenville, SC.

4 – I recently got re-obsessed with The Rolling Stones.  So there’s that.  You might have heard one or two of their songs before…

Selling merchandise has long been associated with any kind of music/artist marketing effort.
Make something with their image on it, someone will buy it.
Simple right?
Even back when they were marketing the first “Rock and Roll Icon” of all time, Elvis Presley, you could buy
Teddy Bear perfume, hankies, guitars, record players, hound dog stuffed animals, you name it.

The Colonel made it, and made sure it sold.

It was then a precedent was set that has carried through till today.

No shortage of Hannah Montana dolls, guitars, wigs, or games on the shelves these days heh?

The selling of the Rolling Stones, “The Not So Lovable Mop Tops,” presented its own set of problems and challenges for Andrew Loog Oldham and his team.
What do we create and manufacture that fits their image?
And more importantly, will anybody buy it?
The primary audience for this kind of merchandise was usually young girls, the majority of the fan base.
And although the Stones had their fair share of female fans, The Beatles were probably easier to sell anyone and everyone.

The Rolling Stones were the first band of their time where you
could actually find boys screaming at their shows.

Though The Fab Four had it all.
Dolls, wigs, hairspray, combs, notebooks, pencils, ice cream bars, gum cards, record players, guitars, drums, candy, games, you name it.
Literally thousands of items.

The Rolling Stones ended up with but a handful.
I guess Andrew found that their “bad boy” image in the end wasn’t all that marketable.

Hell, I would bought the stuff.
And fans and collectors are still buying it now.

Only it’s a tad more expensive these days.

Here’s a few of the items from the 60’s.
These are the rarest of all Stones collectibles.
And believe it or not, would command in the thousands if sold today.

Mick's Maraccas. WTF?!!!!

This guitar has and will sell for $2500 in auction is very good condition.

You really don’t want to piss of your partner.
Especially when he’s Keith Richards.
But Mick needed to test himself in 1985 by going solo for the first time in his career
with She’s the Boss.

When The Rolling Stones signed with CBS Records in 1983, one of the options available to them was for individual projects, and Jagger – ready to spread his wings after recording exclusively with his famous band for twenty years – eagerly began working on She’s the Boss.

Following the release of Undercover, Jagger began composing material for his first solo project, sanctioning the help of various musician friends in the studio when recording began in May 1984. Of those involved were Pete Townshend, Jeff Beck, Carlos Alomar and Herbie Hancock, while Jagger would share production duties with Bill Laswell and Nile Rodgers.

Keenly aware of the current musical trends – and taking advantage of his freedom – Jagger endeavored to make She’s the Boss sound hip and contemporary, giving the album a very mid-1980s character with its use of synthesizers and drum machines.

Keith Richards, Jagger’s longtime musical partner in The Rolling Stones, was not pleased that Jagger was pursuing solo work, feeling that their band should be each others’ first priority. The growing friction between both musicians would erupt – in a most publicized way – in 1986, before they resolved their differences a couple of years later.

She’s the Boss was released in February 1985 – preceded by its lead song “Just Another Night”. Both the album and its first single became worldwide hits, with “Just Another Night” reaching #1 on the US Mainstream Rock chart and #12 on the US pop chart, and She’s the Boss going to #6 in the UK and #13 in the US, where it went platinum. Follow-up single “Lucky In Love” would be a Top 40 US hit. Although critical response to the album was warm, many later reviewers consider She’s the Boss – with its distinct 1980s production techniques – to sound somewhat dated in style.[citation needed]

The success of the album – impacted by Jagger’s solo appearance at Live Aid that July and his rush-recorded duet hit cover of “Dancing In The Street” with David Bowie – influenced Jagger to record a successor, Primitive Cool, which would be released in 1987.

Although originally released by CBS, She’s the Boss was acquired and reissued by Atlantic Records in 1993 following the release of Jagger’s third album, Wandering Spirit.

In 1986, Jamaican reggae singer Patrick Alley attempted to sue Jagger over the song “Just Another Night,” which Alley claims he had recorded in 1979 and released on his 1982 album, A Touch of Patrick Alley. Alley claimed that Sly Dunbar (who played drums on She’s the Boss) also played on his recording. The case was cleared in 1988, with Jagger stating “My reputation is really cleared. If you’re well known, people stand up and take shots at you.”

http://en.wikipedia.org/wiki/She%27s_The_Boss

The following are direct from the files of a former publicist and personal assistant to Mick Jagger.
Typed and xeroxed lyrics with hand written annotations by Jagger.

The Rolling Stones, es una banda británica de rock. Participó, junto a The Beatles, con los que siempre rivalizó en popularidad, en la llamada «invasión británica» que se produjo en los primeros años de la década de 1960. Son considerados una de las más grandes e influyentes agrupaciones de la historia del rock junto a otras como Pink Floyd, Led Zeppelin, The Beatles, Queen o The Who. Desde su gira por los Estados Unidos en 1969 se autonombraron «La banda de rock and roll más grande del mundo», denominación que aún conservan.

Fue fundada en Londres en 1962 por el multi-instrumentista Brian Jones, el cantante Mick Jagger, el guitarrista Keith Richards, el pianista Ian Stewart, el batería Charlie Watts y el bajista Bill Wyman. Stewart sería retirado de la alineación en 1963 por su mánager Andrew Loog Oldham, aunque siguió colaborando en las sesiones de grabación y como su road manager hasta el momento de su muerte en 1985. Jones fue despedido en 1969, poco después de ello falleció, y reemplazado por el ex miembro de John Mayall & the Bluesbreakers Mick Taylor, que desde mediados de la década de los 70 es relevado por el ex-Faces Ron Wood. Bill Wyman decidió retirarse de la agrupación en 1993 y fue sustituido unos meses más tarde por Darryl Jones, aunque no es miembro oficial. (Extraído Wikipedia)

Paint it Black  (Video Tributo)

Satisfaction

8106 Report:

Click here to go to 8106 to check the Rolling Stones cover of “Prodigal Son (Live Unreleased Track)”

Hello, loyal readers, if there are any of you left (well, besides you, Mom) — or rather, if there were any to begin with (again, besides you, Mom).  I honestly didn’t intend to leave you guys waiting so long for my next post, but there’s this little thing called college that really sucks up all your spare time.  I guess I’ll have to save that Halloween videos list I was planning for next year (*sob*).  Anyway, the semester’s winding down right now, so hopefully I’ll be able to come on a little more frequently than before.  So without any further ado, I’ve decided to include a very appropriate (by appropriate I mean it has the word “waiting” in the title, as I know at least one of you has been waiting for months for a new post…you know who you are…*cough* Mom *cough*) video for this week (or, rather, for the past three months):  a video from the Stones’ cheese-tacular ’80s period, exhibiting the band’s relationship as THE ultimate bromance.  They’re so close, that they don’t even have the heart to tell each other that men their age really should not be dressed the way they are (except, of course, for Charlie, who will always be the classiest-dressed man in rock).

Here’s the link:  http://www.youtube.com/watch?v=r8MhpofxMgk&feature=related