Sunday, November 30, 2008

Rolling Stones Sticky Fingers

After spending nearly a decade on Decca Records in the UK and London Records in the US, The Rolling Stones' contract was up and they decided to release this record on April 23, 1971 on their own label Rolling Stones Records. Recording sessions for the album started as early as 1969 during the Let It Bleed sessions.

I'm sure if you've seen the Rolling Stones now, you might have a harder time digesting the fact that at one point they were one of the greatest live acts around. On top of that, every song on this album is a smash. All killer, no filler, all go, no slow however you want to put it this album will blow your socks off.


First things first... the looks. Dig the cover, conceived by Andy Warhol, shot by Billy Name, and designed by John Pasche. Although tons of people speculate that this is Mick Jagger's junk snugged in the blue jeans, the owner of the member is unknown. It could have been anyone at the factory, line'em up and you be the judge. This is also Mick Taylor's first full length appearance with the Rolling Stones. He did some session work over dubbing some tracks on Let It Bleed and by the time his work on that was done, Brian Jones was kicked out of the band. Yadda, yadda, yadda lets get to the record!

Brown Sugar, the first single of the record is the opening track. An awesome blues-rock riff carries the tune into a great sax solo. On some bootleg recordings of the song the sax solo is replaced by a guitar solo. The tune is so catchy and rocking, you almost over look Mick Jaggers blatantly sexual lyrics. " Black sugar, how come you taste so good? Brown sugar just like a black girl should." The lyrics also hint at sadomasochism: "Hear him whip her just around midnight." The song is sleazy, but just too damn danceable to notice. The song went on to be number 1 in American, and number 2 in the UK. Sway is a little slower, a bit more bluesy, and features the packing vocals of some real heavy hitters. Pete Townshend of The Who, Ronnie Lane of The Faces, and singer songwriter Billy Nicholls. The ever popular Wild Horses is next, and although not an immediate hit, the song struck a cord and has been heard in commercials, covered by tons of artists and even re released in the 90's. Can't You Hear Me Knockin', the longest track on the record clocking in at a little over 7 minutes is a great song, layered with instruments. A lengthy guitar intro, congas, keys, this is my personal favorite guitar work by Mick Taylor. You Gotta Move is great blues cover, and an awesome end to Side A.

Side B starts with "Bitch," made up of the heavily riff driven blues rock the Rolling Stones are known for. This song also has a killer sax solo, and the horn is present throughout most of the song. This is probably the song I would use to turn someone on to the Stones if they were unfamiliar with their work. I Got The Blues is a classic tale of a broken heart, a very slow tune with a great solo thanks to the organ work of Billy Preston. Sister Morphine, co-written by Marianne Faithfull (although uncredited), is a song lamenting the harmful use of drugs, and the use of drugs to help combat the effects of other drugs. "Tell me sister morphine, how long have I been lying here? What am I doing in this place? Why does this doctor have no face?" The final track on Side B, Moonlight Mile, is about the pressures and alienation touring life creates. Often considered to be The Rolling Stones most famous ballad.


Brown Sugar:


Bitch:


An Interview:




Personnel:

Track Listing:
Side A
1. Brown Sugar
2. Sway
3. Wild Horses
4. Can't You Hear Me Knockin'

Side B
1. Bitch
2. I Got The Blues
3. Sister Morphine
4. Dead Flowers
5. Moonlight Mile

You can find more info at The Rolling Stones official website. Or just ask your parents.

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