The Rolling Stones - Get Satisfaction...If You Want (BBC Radio Recordings 1963-1965) (Bootleg)

Size: 122 MB
Bitrate: 320
mp3
Found n OuterSpace
Artwork Included

Biography From Wikipedia 1962-65:
Culled from a series of early British Broadcasting Corporation television and radio appearances from 1963 to 1965, this collection of cover songs along with early hits like "The Last Time" and "(I Can't Get No) Satisfaction" is superb all around. The album is also noteworthy for the brief interviews sprinkled throughout as the band contemplates the future and their success. Because these are radio recordings, the sound quality throughout is quite high given the technology available at the time. Highlights include "Cops and Robbers" and "Cry to Me." 

Keith Richards and Mick Jagger were childhood friends and classmates in Dartford in Kent until the Jaggers moved. They became reacquainted in 1960 when Richards met Jagger at the Dartford railway station. The Chuck Berry and Muddy Waters records Jagger had in his hands revealed a mutual interest and prompted their musical partnership. Richards Jagger met Brian Jones as he sat in playing slide guitar with Alexis Korner's seminal London R&B band, Blues Incorporated, at the Ealing Jazz Club, which also had eventual Rolling Stones, Ian Stewart and Charlie Watts.

Stewart found a practice space and joined with Jones to start an R&B band playing Chicago blues. Besides Stewart, Jones, and Jagger, the first rehearsal of the as-yet-unnamed band also included Richards attending at Jagger's behest. Also at the first rehearsal were guitarist Geoff Bradford and vocalist Brian Knight, both of whom refused to join the band citing objections to playing the Chuck Berry and Bo Diddley songs preferred by Jagger and Richards. In June 1962 the line-up was: Jagger, Jones, Richards, Stewart, Taylor, and drummer Tony Chapman. According to Richards, Jones christened the band during a phone call to Jazz News. When asked for a band name Jones saw a Muddy Waters LP lying on the floor of which one of the tracks was "Rollin' Stone".

Jagger, Richards and Jones with Stewart and Taylor on bass billed as "the Rollin' Stones" played their first gig in July 1962 at the Marquee Club. Their material included the Chicago blues as well Chuck Berry and Bo Diddley songs. Bassist Bill Wyman joined in December 1962 and drummer Charlie Watts the following January 1963 to form the band's long-standing rhythm section. The Rolling Stones' then acting manager Giorgio Gomelsky secured a Sunday afternoon residency at the Crawdaddy Club, which, Gomelsky said, triggered an "international renaissance for the blues" and was a seminal facet of "Swinging London's" advent.

Andrew Loog Oldham, a former publicist of the Beatles, became the band's manager. Because he was too young to hold an agent's license - he was nineteen and younger than any of the band - he partnered with booking agent Eric Easton as his mother signed for her young son. Gomelsky, who had no written agreement with the band, was not consulted. Oldham changed the spelling of the band name from "the Rollin' Stones" to "the Rolling Stones" and changed the spelling of Richards last name to Richard because it "looked more pop". Stewart did not fit Oldham's mould, said Wyman, of "pretty, thin, long-haired boys," and was removed from the line-up in May 1963 to become road manager and occasional pianist for the band until his death in 1985.

Oldham approached Decca Records, which regretted passing on the Beatles, and signed the Rolling Stones to very favorable terms. They got three times a new act's typical royalty rate, full artistic control of recordings, and ownership of the recording masters. The deal also let the band use non-Decca recording studios. Regent Sound Studios, a mono facility decorated by egg boxes on the ceiling for sound treatment, became the preferred facility. Oldham, who had no recording experience but became the band's producer, said Regent had a sound that "leaked, instrument to instrument, the right way" creating a "wall of noise" that worked well for the band. Due to Regent's low rates, the band could record for extended periods rather than the usual three hour blocks then prevalent at other studios. All tracks on the first Rolling Stones UK album were recorded at Regent.

Oldham presented the Rolling Stones' use of independent studios to position his artists in the music press as more independent than the Beatles. Oldham said the Beatles' obligation to record in EMI's studios made them seem to be "mere mortals...sweating in the studio for the man". Oldham promoted the Rolling Stones as the nasty opposites of the Beatles by having the band pose unsmiling on the cover of the first UK album. He also encouraged the press to use provocative headlines such as "Would you let your daughter marry a Rolling Stone?"[ Though Oldham dressed the band in identical suits, the band returned to wearing casual clothes at public appearances. According to Wyman: "Our reputation and image as the Bad Boys came later, completely accidentally. Andrew never did engineer it. He simply exploited it exhaustively".

A cover of Chuck Berry's "Come On" was the Rolling Stones' first single, released on 7 June 1963. The Rolling Stones refused to play it at live gigs, and Decca bought only one ad to promote the single. With Oldham's direction fan-club members bought copies at record shops polled by the charts, helping "Come On" rise to No.21 on the UK singles charts. Having a charting single gave the band entree to play outside London, starting with a booking at the Outlook Club in Middlesbrough on 13 July, sharing the billing with the Hollies.[46] Later in the year Oldham and Easton arranged the band's first big UK concert tour as a supporting act for American stars including Bo Diddley, Little Richard and The Everly Brothers. This Autumn 1963 tour became a "training ground" for the young band's stagecraft.

During this tour the Rolling Stones recorded their second single, a Lennon–McCartney-penned number entitled "I Wanna Be Your Man"; it reached No.12 in the UK charts. Their third single, Buddy Holly's "Not Fade Away", itself based on Bo Diddley's hit, was released in February 1964 and reached No. 3.

Oldham saw little future for an act that lost significant songwriting royalties by playing songs of "middle-aged blacks," limiting the appeal to teenage audiences. At Oldham's urging, Jagger and Richards co-wrote songs, the first batch of which he described as "soppy and imitative."[49] Because songwriting developed slowly, songs on the band's first album The Rolling Stones, (issued in the US as England's Newest Hit Makers) were primarily covers, with only one Jagger/Richards original – "Tell Me (You're Coming Back)" – and two numbers credited to Nanker Phelge, the pen name for songs written by the entire group.

The Rolling Stones' first US tour, in June 1964, was, in Bill Wyman's words, "a disaster." "When we arrived, we didn't have a hit record [ or anything going for us." When the band appeared on Dean Martin's TV variety show The Hollywood Palace, Martin mocked both their hair and their performance. During the tour they recorded for two days at Chess Studios in Chicago, meeting many of their most important influences, including Muddy Waters. These sessions included what would become the Rolling Stones' first number 1 hit in the UK: their cover of Bobby and Shirley Womack's "It's All Over Now".

"The Stones" followed James Brown & The Famous Flames in the filmed theatrical release of The TAMI Show, which showcased American acts with British Invasion artists. According to Jagger in 2003, "We weren't actually following James Brown because there was considerable time between the filming of each section. Nevertheless, he was still very annoyed about it..." On 25 October the band also appeared on The Ed Sullivan Show. Because of the initial pandemonium the Rolling Stones caused, Sullivan banned the band from his show, though they were booked for subsequent appearances in the years following. Their second LP – the US-only 12 X 5 – was released during this tour; like their first album, it contained mainly cover tunes, augmented by Jagger/Richards and Nanker Phelge tracks.

The band's second UK LP – The Rolling Stones No. 2, released in January 1965, charted at number 1 as an album, and the US version, released in February as The Rolling Stones, Now!, reached number 5. The album was recorded at Chess Studios in Chicago and RCA Studios in Los Angeles. In January/February 1965 the band played 34 shows for about 100,000 people in Australia and New Zealand.

The first Jagger/Richards composition to reach number 1 on the UK singles charts was "The Last Time" (released in February 1965); it went to number 9 in the US. It was also later identified by Richards as "the bridge into thinking about writing for the Stones. It gave us a level of confidence; a pathway of how to do it."

Their first international number-1 hit was "(I Can't Get No) Satisfaction", recorded in May 1965 during the band's third North American tour. In recording the guitar riff with the fuzzbox that drives the song, Richards had envisioned it as a scratch track to guide a horn section. Disagreeing, Oldham released "Satisfaction" without the planned horn overdubs. Issued in the US in June 1965, it spent four weeks at the top of the charts there, establishing the Rolling Stones as a worldwide premier act.

A trade ad for the 1965 Rolling Stones' North American tour.The US version of the LP Out of Our Heads (released in July 1965) also went to number 1; it included seven original songs (three Jagger/Richards numbers and four credited to Nanker Phelge). Their second international number-1 single, "Get Off of My Cloud" was released in the autumn of 1965, followed by another US-only LP: December's Children.

The Rolling Stones' fifth UK single – a cover of Willie Dixon's "Little Red Rooster" backed by "Off the Hook" credited to Nanker Phelge – was released in November 1964 and became their second No.1 hit in the UK – an unprecedented achievement for a blues number. The band's US distributors (London Records) declined to release "Little Red Rooster" as a single there. In December 1964 London Records released the band's first single with Jagger/Richards originals on both sides: "Heart of Stone" backed with "What a Shame"; "Heart of Stone" went to number 19 in the US.

GET SATISFACTION...IF YOU WANT
The Best of BBC Radio Recordings 1963-1965

01. Come On (Recorded In 1963 For BBC)  2:02   
02. Memphis Tennesse (Recorded Live Fro BBC Radio "Saturday Club", Oct. 5, 1963)  2:21   
03. Roll Over Beethoven (Recorded Live Fro BBC Radio "Saturday Club", Oct. 5, 1963)  2:17   
04. Not Fade Away (Recorded Live For BBC Radio In Early 1964)  2:05   
05. Down The Road Apiece (Recorded Live For BBV-TV "Top Of The Pops", London, March 5, 1965)  2:04   
06. Route 66 (Live At Camden Theatre, London, March 19, 1964)  2:54   
07. Cops And Robbers (Live At Camden Theatre, London, March 19, 1964)  3:52   
08. You Better Move On (Live At Camden Theatre, London, March 19, 1964)  3:05   
09. Mona (I Need You Baby) (Live At Camden Theatre, London, March 19, 1964)  2:54   
10. Everybody Needs Somebody To Love (Recorded Live For BBV-TV "Top Of The Pops", London, March 4, 1965)  3:31   
11. The Last Time (Recorded Live For BBV-TV "Top Of The Pops", London; March 4, 1965)  3:07   
12. Mercy, Mercy (Recorded Live For "Yeah Yeah", London, August 20, 1965)  2:50   
13. Mick Jagger –  Interview  0:49   
14. Cry Tom Me (Recorded Live For BBV-TV "Top Of The Pops", London, Sept. 23, 1965)  3:05   
15. Fanny Mae (Recorded Live For BBC Radio "Saturday Club", Sept. 18, 1965)  2:12   
16. Mick Jagger –  Interview  0:23   
17  (I Can't Get No) Satisfaction (Recorded Live For BBV-TV "Top Of The Pops", London, Sept. 23, 1965)  3:44   
18. 12120 South Michigan Avenue (Recorded Live For BBC Radio In 1964)  3:47   
19  Oh Baby (We Tot A Good Thing Goin') The Spider And The Fly 1965  3:26   
20. (Recorded Live For BBV-TV "Top Of The Pops", London, March 4, 1965)  1:56   
21  Mick Jagger & Brian Jones (5) –  Interview  0:48  
21. Interview with Mick Jagger/Brian Jones 0'46 

1. Link
or

2. Link
.

The Rolling Stones - BBC Studios, 1963 - 1965 (At The Beeb) (Bootleg)

Size: 236 MB
Bitrate: 320
mp3
Found in OuterSpce
Artwork Included

The Rolling Stones - At the Beeb (BBC studios, 1963 - 1965)

This 2cd set comprises the long lost session recordings the Rolling Stones made especially for British BBC radio between 1963-1965. They are in chronological order and as complaete as possible. Every effort was made to track down the best sources, be it from the BBC archives or from avid fans who taped these shows off the radio in the early 60s. This as necessary since the BBC itself erased most of its programmes as in those days they were not considered worthwhile enough for preservation! The tapes were equalized, de-noised, de-clicked and speed-corrected in order to make the overall sound quality as perfect as can be.

The Rolling Stones' 1963-1965 BBC sessions have usually been scattered piecemeal over innumerable bootlegs. This two-CD, 50-track set does what should have been done a long time ago by a legitimate label, gathering every known recording they did for the radio network onto one package. There are things to be said against this anthology, namely the uneven sound quality, which ranges from excellent to marginal (though overall it's pretty good). But even at its worst it's listenable, and the compilers did seem to be working from the best available tapes that have escaped into circulation. Of more importance, this is the most complete picture yet of the most vital body of early Rolling Stones recordings that has yet to gain official release. 

As is usual for BBC compilations (authorized or otherwise) of British Invasion bands, much of it's given over to live (or at least live-in-the-studio) performances of songs also found on their official studio releases, though with a rougher and stripped-down edge. There are, however, a number of songs that never found their way onto those releases, including great covers of Chuck Berry's "Memphis, Tennessee" and "Roll Over Beethoven"; not as great, but still good, covers of Berry's "Beautiful Delilah"; and versions of Tommy Tucker's "Hi Heel Sneakers," Bo Diddley's "Cops and Robbers" and "Crackin' Up," Buster Brown's "Fannie Mae," and Howlin' Wolf's "Down in the Bottom." These alone would make this of significant importance, but there are also BBC versions of a lot of material from their early albums, EPs, and singles going back to their debut 45 "Come On," and including such standouts as "I Wanna Be Your Man," "You Better Move On," "I Just Want to Make Love to You," "Around and Around," "Carol," "It's All Over Now," "Route 66," "2120 South Michigan Avenue," "Walking the Dog," "The Last Time," and "(I Can't Get No) Satisfaction." Alas, there are very few Stones originals on the set; the only others besides "The Last Time" and "(I Can't Get No) Satisfaction" are "Little by Little" and "The Spider and the Fly." 

And as with some other bands who recorded prolifically for the BBC, there are multiple versions of many of the songs, though never more than two of any of the same tune, spaced far enough apart from each other that listener enjoyment isn't diminished. On the whole these are sparkling, if occasionally raw performances that testify to the group's brilliance as an R&B-rock band in their early days. There's no reason they shouldn't be officially released with the appropriately possible sonic cleanup, especially as there are several other far less worthy Stones rarities/live releases cluttering their official discography. 

The Rolling Stones
"Beat Beat Beat at the Beeb" 

CD 1

Saturday Club, October 26,1963 
  01. Come On
  02. Memphis Tennessee
  03. Roll Over Beethoven

Saturday Club, February 8,1964 
  04. Ain't That Loving You Baby
  05. Don't Lie To Me
  06. Mona
  07. Walking The Dog
  08. Bye Bye Johnny
  09. I Wanna Be Your Man
  10. You Better Move On

Saturday Club, March 8,1964 
  11. Roll Over Beethoven
  12. Beautiful Delilah

Blues In Rhythm, Camden Theater, March 19, 1964 (Stereo) 
  13. Route 66
  14. Cops and Robbers
  15. You Better Move On
  16. Mona 

The Joe Loss Show, April 10, 1964 
  17. Hi-Heeled Sneakers
  18. Little By Little 
  19. I Just Wanna Make Love To You
  20. I'm Moving On 

Saturday Club, April 18, 1964 
  21. Not Fade Away 
  22. Walking The Dog 
  23. I Just Wanna Make Love To You 
  24. Beautiful Delilah 
  25. Hi-Heeled Sneakers 
  26. Carol 

CD 2

Saturday Club, June 6, 1964 
  01. Meet Me In The Bottom 
  02. You Can Make It If You Try
  03. Route 66 
  04. Confessin' The Blues 
  05. Down The Road Apiece 

The Joe Loss Show, July 17, 1964 
  06. It's All Over Now 
  07. If You Need Me 
  08. Confessin' The Blues 
  09. Carol 
  10. Mona 

Top Gear, July 23, 1964 
  11. Around and Around 
  12. If You Need Me
  13. I Can't Be Satisfied 
  14. Crackin' Up 

Rhythm and Blues, October 31, 1964 
  15. 2120 South Michigan Avenue (fades at 3:42)

Top Gear, March 6, 1965 
  16. Down The Road Apiece
  17. Interview
  18. Everybody Needs Somebody To Love 
  19. The Last Time 

The Rolling Stones Special, August 30, 1965 
  20. Mercy Mercy 
  21. Oh Baby We Got A Good Thing Going
  22. The Spider And The Fly 
  23. Satisfaction 

Saturday Club, September 18, 1965 
  24. Cry To Me
  25. Fannie Mae

Part 1: Link
Part 2: Link
or
Part 1: Link
Part 2: Link
.

The Rolling Stones - The Chess Sessions 1964-65 (Bootleg)

Size: 173 MB
Bitrate: 320
mp3
Found in OuterSpace
Arwork by "Moonwall" (Sweden)

"When Chess Records was founded (as Aristocrat in 1947), the company did not have a recording studio, and over the following decade it recorded most of its artists at Universal Recording Studio (at various locales in Chicago). In 1954, Chess moved one block north from its location on Chicago’s 49th Street to 48th and Cottage Grove, and there built its first rehearsal studio, but its poor quality forced the company to continue to rely on Universal for most of its recording production. Finally, the company established a first-rate in-house studio – called Chess Studios – in1957, when it relocated to 2120 S. Michigan Avenue, and it rented the second floor to Sheldon Recording Studios, operated as a Chess subsidiary by engineer Jack Wiener. The studio featured a set of matched echo chambers.

Under Wiener, Sheldon took in considerable outside work, recording sessions for Atlantic and Mercury, for instance. In 1958, Chess took over the studio directly and hired Malcolm Chisholm, who had been the engineer for a considerable number of recordings for Chess when the company was recording at Universal, as sound engineer. When he left, he was replaced in 1960 by Ron Malo, who stayed with the studio until its demise in 1975. Malo upgraded the studio and ran the sound into dual echo chambers in the basement. Almost all the Chess artists were recorded with echo, sometimes to excess. Among the legendary blues and rock ’n’ roll artists recorded in this studio were Muddy Waters, Sonny Boy Williamson II, Howlin’ Wolf, Chuck Berry and Bo Diddley. The company also built an impressive jazz series, and recorded such artists as the Ramsey Lewis Trio, Ahmad Jamal and Sonny Stitt.

Malo supervised the engineering at recording sessions for most of the company’s artists, which by the 1960s meant primarily soul artists: Etta James, the Dells and Billy Stewart, for example. Malo was also the engineer for many sessions with outside artists. In June 1964, for example, the Rolling Stones, seeking to emulate the sound of their legendary blues heroes, came to Chicago to record at the Chess studio; the studio produced half of the tracks on their LP, 12X5, one of the songs on which was titled in tribute ‘2120 South Michigan Avenue.’ The Rolling Stones subsequently recorded about 20 more tracks at Chess during 1964-65, and in 1965 the Yardbirds record ‘I’m a Man’ there. By 1965, the studio had changed its name to Ter-Mar Recording Studio.

In September 1966, Chess moved all its operations around the corner to 320 E. 21st Street, relocated the Ter-Mar studio there and added a small rehearsal studio. After Leonard Chess died in late 1969, the company went into decline. Malcolm Chisholm rejoined the operation in 1970, but, within two years, the Chess studio was almost inoperative. As a result of its failure to introduce new equipment and to keep up with new trends, the studio had developed a second-rate reputation. When Chess closed its doors in 1975, the studio was dismantled and its equipment sold.

In 1990, the building at 2120 S. Michigan Avenue was dedicated as a Chicago landmark, and hailed as the studio that recorded Chuck Berry, Muddy Waters and other legendary artists. A few years later, the widow of Willie Dixon, Marie Dixon, purchased the building and began a restoration project. In 1997, the building was reopened as a dual-purpose complex: an educational foundation for black artists and a museum of Chess Records and its famous studio."

Rolling Stones THE CHESS SESSIONS
(((Excellent SoundQuality A))) 

01. It's All Over Now
 Chicago, Chess Studios 10.6 1964
02. I Can't Be Satisfied
 see 1
03. Stewed And Keefed
 see 1
04. Time Is On My Side (v1)
 see 1
05. Good Times, Bad Times
 Chicago, Chess Studios 11.6 1964
06. Don't Lie To Me
 see 5
07. Around And Around
 see 5
08. 2120 South Michigan Avenue (v1)
 see 5
09. Empty Heart
 see 5
10. Down In The Bottom
 see 5
11. Reelin' And Rockin'
 Chicago, Chess Studios 11.6 1964
12. Down The Road Apiece
 see 11
13. High Heeled Sneakers
 see 11
14. Look What You've Done
 see 11
15. Confessin' The Blues
 see 11
16. 2120 South Michigan Avenue (v2)
 see 11
17. If You Need Me
 see 11
18. Tell Me, Baby (How Many Times)
 see 11
19. Time Is On My Side (v2)
 Chicago, Chess Studios 8.11 9164
20. Little Red Rooster
 see 19
21. What A Shame
 see 11
22. Fanny Mae
 BBC
23. Mercy Mercy
 Chicago, Chess Studios 10.5 1965
24. That's How Strong My Love Is
 see 23
25. The Under-Assistant West Coast Promotion Man
 see 23
26. (I Can't Get No) Satisfaction
 Bonus track

1. Link
or
2. Link
.

The Rolling Stones - Tricky Fingers & Slicky Ringers 1971 (Bootleg)

Size: 153 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included

Studio alternate & early versions from the Sticky Fingers period.
"Can't You Hear Me Knocking" is a Mick Taylor live version with Keith Richards recorded in New York '86.

"Alternate versions" of entire albums are somewhat in vogue by rock bootleggers, who compile entire CDs of alternate/live takes of songs from one specific full-length recording. This is one attempt at an alternate version of Sticky Fingers, and not bad, though not as successful as it may appear from a glance at the sleeve. There are indeed alternate studio takes of "Brown Sugar," "Wild Horses," "Sister Morphine," "You Gotta Move," and "Bitch." In fact, there are four different versions of "Brown Sugar" alone, including the famous one with a prominent slide guitar. The thing is, they really aren't that different; at a casual listen, they sound almost exactly like the album versions, sometimes amounting to nothing more drastic than different mixes. 

And it's uncertain whether the live versions of "Dead Flowers" and "Can't You Hear Me Knocking" actually come from 1969-1971 as the sleeve claims. A 14-minute performance of "Can't You Hear Me Knocking" sounds particularly enticing, but this fair-quality live recording (no source given) doesn't sound like it's from the Sticky Fingers period; indeed, it sounds suspiciously like it might be from a Jagger-less side project of Keith Richards or somebody. These reservations aside, hardcore Stones fans may find this worthwhile, with a 66-minute running time and the addition of a cover of Chuck Berry's "Let It Rock" (which was not included on Sticky Fingers).

Biography Wikipedia:
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 founding guitarist 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.

With the end of their Decca/London association at hand, The Rolling Stones would finally be free to release their albums (cover art and all) as they pleased. However, their leaving manager Allen Klein dealt the group a major blow when they discovered that they had inadvertently signed over their entire 1960s copyrights to Klein and his company ABKCO, which is how all of their material from 1963's "Come On" to Get Yer Ya-Ya's Out! The Rolling Stones in Concert has since come to be released by ABKCO Records. The band would remain incensed with Klein for decades over the act.

When Decca informed The Rolling Stones that they were owed one more single, they cheekily submitted a track called "Cocksucker Blues",[1] which was guaranteed to be refused. Instead, Decca released the two-year-old Beggars Banquet track "Street Fighting Man" while Klein would have dual copyright ownership, with The Rolling Stones, of "Brown Sugar" and "Wild Horses".

The album's artwork emphasizes the suggestive innuendo of the Sticky Fingers title, showing a close-up of a jeans-clad male crotch; the cover of the original (vinyl) release featured a working zipper and mock belt buckle that opened to reveal cotton briefs. The vinyl release displayed the band's name and album title along the image of the belt; behind the zipper the white briefs were seemingly rubber stamped in gold with the name of American pop artist Andy Warhol, below which read "THIS PHOTOGRAPH MAY NOT BE--ETC." While the artwork was conceived by Warhol, photography was by Billy Name and design by Craig Braun.

The cover photo of a male model's crotch clad in tight blue jeans was assumed by many fans to be an image of Mick Jagger, but the people actually involved at the time of the photo shoot claim that Warhol had several different men photographed (Jagger was not among them) and never revealed which shots he used. Among the candidates, Jed Johnson, Warhol's lover at the time, denied it was his likeness, although his twin brother Jay is a possibility. Those closest to the shoot, and subsequent design, name Factory artist and designer Corey Tippin as the likeliest candidate. After retailers complained that the zipper was causing damage to the vinyl (from stacked shipments of the record), the zipper was "unzipped" slightly to the middle of the record, where damage would be minimized.

The album features the first usage of the band's "tongue & lips" logo, which was originally designed by Ernie Cefalu. Although Ernie's version was used for much of the merchandising and was the design originally shown to the band by Craig Braun, the design used for the album was illustrated by John Pasche.

In 2003, the TV network VH1 named Sticky Fingers the "No. 1 Greatest Album Cover" of all time.

In Spain, the original cover was censored and replaced with a "Can of fingers" cover, and "Sister Morphine" was replaced by a live version of Chuck Berry's "Let It Rock". This version was released on the compilation album Rarities 1971–2003 in 2005.

In 1992, the LP release of the album in Russia featured a similar treatment as the original cover; but with Cyrillic lettering for the band name and album name, a colourized photograph of blue jeans with a zipper, and a Soviet Army uniform belt buckle that shows a hammer and sickle inscribed in a star. The model appears to be female

Sticky Fingers hit the number one spot on the British charts in May 1971, remaining there for four weeks before returning at number one for a further week in mid June. In the US, the album hit number one within days of release, and stayed there for four weeks. In Germany it was one of only two non-German albums to reach number one in 1971.
In 2003, Sticky Fingers was listed as #63 on Rolling Stone magazine's 500 Greatest Albums of All Time.

In 1994 Sticky Fingers was remastered and reissued by Virgin Records, again in 2009 by Universal Music Enterprises, and once more in 2011 by Universal Music Enterprises in a Japanese only SHM-SACD version.

ROLLINGS STONES
"TRICKY FINGERS & STICKY RINGERS"
SoundQuality: A

01. Brown Sugar - 4:05
02. Brown Sugar - 3:43
03. Brown Sugar - 3:44
04. Sway - 3:23
05. Wild Horses - 5:21
06. Wild Horses - 5:39
07. Can't You Hear Me Knocking (Mick Taylor live) - 14:16
08. You Gotta Move - 2:29
09. Bitch - 3:28
10. Sister Morphine - 5:27
11. Dead Flowers (live, Leeds 1971) - 4:08
12. Bitch - 4:09
13. Brown Sugar - 3:46
14. Let it Rock (from the Spanish Sticky Fingers) - 2:44

1. Link

or

2. Link

.

The Rolling Stones - Montreux Rehearsals 1972 (Bootleg)

Size: 63.6 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

"Montreux Rehearsals 1972" 

Old Grey Whistle Test
Rialto Theater, Montreux, Switzerland
May 21, 1972
Rehearsals for the upcoming US tour

01. Shake Your Hips - 4'25
02. Tumbling Dice (Part 1) - 4'21
03. Tumbling Dice (Part 2) - 4'42
04. Bluesberry Jam - 3'31
03. John’s Jam (aka Gimme a drink) - 4'40
06. Loving Cup (playback track) - 5'44

1. List
or
2. Link
.

The Rolling Stones - Trident Mixes (Unreleased 1968-70) (Bootleg)

Size: 156 MB
Bitrate: 320
mp3
Found in OuterSpace
No Artwork

The Trident Mixes on Dog n Cat sounds like a straight transfer from the vinyl release on K&S Records complete with front and back cover on the inserts. This album was reissued on LP as Trident Demos 1969 (Chelsea Records 2R-68). Parts of these recordings appear on The Trident Mixes (Living Legend LLR-CD 039), A Beggars Opera (The Early Years 02-CD-3308), Catfish (Missing In Action), and complete Thee Satanic Sessions (Diablo Music CDDIA002), The Trident Mixes (STONES), and on disc one of Hillside Blues (VGP-214-1). The Dog N Cat was subsequently copied in The Mick Taylor Years (RSMT BOX CD1-12). It gathers together important alternate takes and outtakes from the very last days of Brian Jones and first couple of years of Mick Taylor’s involvement with the band. 

“Jiving Sister Fanny” was recorded on July 2nd, 1969 at Olympic Studio, the day before Brian Jones died. Two versions with different lyrics were recorded that day. This is the rarer of the two, having appeared on some pressings of Metamorphosis while the second take appears on most pressings of the album and on the London Years. “I’m Going Down” was initially worked on between April 17th to July 1969 at Olympic Studio and later right before the US tour from October and November, 1969 in Los Angeles. This take, which was also used for Metamorphosis in 1975, dates from July 14th and July 15th, 1970 at Olympic. This track differs from the commercial version by having a false start. This track features Bobby Keys on sax, Rocky Dijon on percussion, Stephen Stills on guitar, and Bill Plummer on upright bass. 

“Hamburger To Go” (aka “Give Me A Hamburger To Go” and “Stuck Out Alone”) dates from sessions at Olympic from March and April, 1968 and remains unreleased. ”Downtown Susie” is a Bill Wyman tune recorded on April 23rd, 1969 at Olympic Studio and is the same as the version on Metamorphosis except is shorter at the fade by five seconds. “Blood Red Wine” was recorded May, 1968 at Olympic Studio. Jagger sings the vocals, Nicky Hopkins plays piano, and no other information is available. It has never been released which is a shame because it is the most intriguing song in this collection. “Travelin’ Man” is another unreleased song recorded at Olympic in October, 1970. 

The first version of “Family” dates from May, 1968 in Olympic and it the arrangement with the electric guitar. The acoustic guitar arrangement which would appear on Metamorphosis would be recorded the following month. “Still A Fool” was recorded at the same sessions and is a ten minute jam on the Muddy Waters tune. Jagger tries his best to sing like the blues singer too.

Six out of the last seven tracks are instrumentals. “Leather Jacket,” recorded on June 22nd, 1970 at Olympic Studio in London, is a lighthearted and infectious pop instrumental whose sunniness is outside the pale of the Stones. “Dancing In the Light,” dating from the spring of 1970, is another upbeat instrumental but with some recognizable Stones raunch. “Potted Shrimp” and “Aladdin Story” come from the same time period as “Leather Jacket” but recorded at Stargroves. “And I Was A Country Boy” comes from the Feb.18-Mar.31 1969 sessions. 

“Who Am I?” (aka “See I Love You”) is a true mystery. It is listed on this release as being from Olympic Studio in March to May 1970. Others sources say late 1969 and even others from Jamaica 1972 and still others claim it comes from 1963 because of its simplicity. The best sources say it was recorded on July 14th - 15th, 1970. The final Trident jam is another mystery. There is no name associated with it and was never used by the band. The Trident Mixes sound fantastic. I compared some of the songs with what appears on the latest official remaster of Metamorphosis and there is a profound difference. The official release sounds like many CDs being remastered by the major record labels today. It is compressed, loud, and very harsh sounding. DAC on the other hand sounds very warm and detailed and is very enjoyable. Although there are no hidden gems on this (there is a reason why many of them still reside in the vaults) but this is an interesting collection. Outtakes from Tident Studios, London, 1969.
With Nicky Hopkins. [COLOGNESHARK]

01. Traveling Man
02. Family
03. Dancing in the Light
04. Give Me A Hamburger
05. Downtown Susie
06. Jiving Sister Fanny
07. I'm Going Down
08. I Don't Know
09. Still A Fool
10. Family (retake)
11. Leather Jacket
12. Potted Shrimp
13. Blood Red Wine
14. Alladin Story
15. And I Was A Country Boy
16. Who Am I

1. Link
or
2. Link
.

The Rolling Stones - Exile on Main St Outtakes 1972 (Bootleg)

Size: 175 MB
Bitrate: 320
mp3
Found in Universe
Artwork Included

Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate. A sprawling, weary double album encompassing rock & roll, blues, soul, and country, Exile doesn't try anything new on the surface, but the substance is new. Taking the bleakness that underpinned Let It Bleed and Sticky Fingers to an extreme, Exile is a weary record, and not just lyrically. Jagger's vocals are buried in the mix, and the music is a series of dark, dense jams, with Keith Richards and Mick Taylor spinning off incredible riffs and solos. And the songs continue the breakthroughs of their three previous albums.

No longer does their country sound forced or kitschy — it's lived-in and complex, just like the group's forays into soul and gospel. While the songs, including the masterpieces "Rocks Off," "Tumbling Dice," "Torn and Frayed," "Happy," "Let It Loose," and "Shine a Light," are all terrific, they blend together, with only certain lyrics and guitar lines emerging from the murk. 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.

"Exile on Main St." is widely regarded as the Rolling Stones' masterpiece. It's also an album surrounded by so much dark myth and debauched legend that if the working conditions were really that out of control, it's a wonder it was even made.

The latest re-release of this iconic album will be available Tuesday, and it's the most ambitious repackaging yet. It includes a deluxe edition with bonus tracks, a documentary DVD and a hard-cover book, but it doesn't focus on the grungier aspects of the album. 

Instead, it preserves the mystery by presenting the original album intact with liner notes and documentary footage that skims the surface of just what went on in Keith Richards' villa-turned-recording-studio in the summer of 1971. The 10 previously unreleased tracks shed little new light on the past; instead most of them feature freshly overdubbed vocals by Mick Jagger, a misguided attempt to update an album that needs no updating.

The good news is that the original album has never sounded better. Remastered in a way that amps up its clarity and power without sacrificing its hard-swinging griminess, "Exile on Main St." remains a towering achievement, the capstone to one of the great four-album runs in rock history (preceded by "Beggars Banquet" in 1968, "Let it Bleed" in 1969 and "Sticky Fingers" in 1971). The Stones were turning into a band divided, jaded rock stars who would never be as good again, but they had one final burst of brilliance in them.

The album arrived at a time when the group was the biggest rock band in the world, transformed from the Bad Boys of Swingin' '60s London ("Would you let your sister go with a Rolling Stone?") to jet-setting celebrities awash in drugs, sex and whatever else they craved.

The decadence had set in when the Stones headed to the south of France in summer 1971 in part to flee England and a mountain of unpaid taxes due to unscrupulous management. There they all rented villas and hunted for a studio. Nothing suited their fancy as much as Keith Richards' 16-room mansion, Nellcote, on the outskirts of the Mediterranean seaport of Nice. It had a huge basement that could be converted into a performance space and the advantage of having the band's least-controllable member on premises at all times. The Stones pulled their mobile recording studio onto the property and went to work at the start of a long, hot summer.

Richards' mansion housed not just the musicians and their family members, but all manner of Stones hangers-on, from Richards' guitar-playing buddy Gram Parsons to drug dealers and groupies. By Richards' admission, there was a party going on all the time upstairs; any Stone or ancillary Stone awake or sober enough slipped down into the basement to play music. Recording sessions began late and often didn't finish for days. The haphazard lineups for each track saw producer Jimmy Miller sometimes filling in on drums, Richards or guitarist Mick Taylor taking over on bass, Nicky Hopkins and Ian Stewart on piano, and horn players Bobby Keys and Jim Price adding percussion.

The working conditions were less than ideal: dark, grimy, hot and poorly ventilated (the inspiration for the "Exile" track "Ventilator Blues"). Instruments frequently went out of tune in the humidity, and songs were thrown together on the spot. Richards says he wrote and recorded "Happy" in the space of three hours, leaving Jagger with only a few vocals to sing on the chorus. The recording-bunker mentality suited Richards, who worked off feel and spontaneity, more so than Jagger, who preferred a more orderly approach.

As a result, "Exile" has the tone and texture of a quintessential Keith Richards-led Stones album — with the grit still intact — while Jagger serves as co-pilot, juggling the sessions with visits to his new bride, Bianca Péerez Morena de Macias, in Paris (the couple had married in May, 1971). For all the unruliness, the sessions were also highly productive, with the Stones cranking out several albums' worth of material. The setting in part lent itself to music that was less studied, less concerned about pop-chart appeal, and instead allowed an uninhibited exploration of all the music — specifically, the American music — that had inspired the Stones in the first place. "Exile" plays like a tour of the American South, with its deep bows toward blues, soul, country, early rock 'n' roll, even gospel. All the styles were united by the band's feel for rhythm, a loose swing fostered by Richards' guitar, Bill Wyman's bass and especially Charlie Watts' drums.


After closing up shop at Nellcote, the band finished the recording in Los Angeles, bringing in more guest musicians (Dr. John, Billy Preston) who only solidified the album's American-roots direction. With 18 tracks and more than 70 minutes of music, "Exile" was divided into a double album, each of the four sides of music working as a discrete whole: rock abandon on Side 1, a reflective country feel on Side 2, the spooky ambiance of Side 3, the drunken stagger of Side 4.

Lukewarm reviews greeted the album's arrival in May 1972. Rolling Stone magazine called it "the Rolling Stones at their most dense and impenetrable … a tangled jungle though which you have to move toward the meat of the material." But over subsequent decades, the album has been elevated to exalted status, and routinely is named one of the great rock albums of all time. Of all the rock albums from the early '70s, it best captured the transition from '60s idealism to the more inward-looking dystopia of the new decade. "Exile" is as dark and dank as the basement in which it was made, but there's a glimmer of hope, a longing for a drop of salvation embodied by tracks such as "Just Wanna See His Face" and "Shine a Light." In retrospect, it's the sound of a great band flexing its strengths one last time before slipping off into a world of glitter and drugs.

The wealth of unreleased material from the "Exile" sessions has been long sought by Stones aficionados, and a number of songs have surfaced over the decades in countless bootlegs. The box includes 10 previously unreleased tracks, including early versions of "Loving Cup," "Soul Survivor" and "Tumbling Dice" (presented in its first incarnation as "Good Time Women"). There are seven rarities, with Jagger adding new vocals and lyrics, as well as occasional harmonica and guitar, to most of them.

Jagger, working with Richards and producer Don Was, says he built the vocals and lyrics for several of the new "Exile"-era rhythm tracks from scratch, because he didn't get around to recording vocals for them in the original sessions. The only guide he had for lyrics were the sometimes fanciful working titles ("Wally's Whistling Saw").

As strong as some of the hybrid tracks are, in particular "Plundered my Soul," it's bound to come as a disappointment to Stones fans that so little new material from the original sessions has been uncovered. Jagger acknowledges that the archive of outtakes is pretty extensive, but he wasn't interested in presenting alternate takes of well-known songs. As a result, we're no longer with the band in that sweaty bunker in Nellcote, but in an air-conditioned Los Angeles studio with Jagger and Don Was reassembling history to suit the needs of 2010.

What's really needed is a warts-and-all look at what went down in the south of France that summer 39 years ago, with outtakes, fragments and studio chatter that show us not just the finished product but the process. By all accounts, engineers Andy and Glyn Johns had the tapes in the mobile studio rolling pretty much continuously, and Jagger and Richards were writing songs on the spot trying to keep the band well-fed with new material. The real story of this album is not the party-out-of-bounds that swirled continuously around the Stones, but how they were able to create such a masterpiece in the midst of it. That story remains untold.

The Rolling Stones
exile on main st. outtakes
(((Excellent SoundQuality)))

01. get a line on you
02. good time woman
03. shake your hips
04. hillside blues
05. sweet virginia
06. bent green needles
07. loving cup
08. ventilator blues
09. i aint signifying
10. let it loose
11. all down the line
12. travelin man
13. stop breakiung down
14. shine a light
15. i'm going down

1. Link
or
2. Link
.