.................... Brian Jones 1964 -- Michael Ward

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Rockman




................New Japanese release -- THE ROLLING STONES ROCKS OFF - 5 track CD

Nice one and for once cheap I ordered one yesterday for 23 USD Shipping included
Thanks for the information Rockeee

HMN
StonesCave

Thanks for the information Rockeee........pleasure Honestman ...nothing new but loverly presentation

ROCKMAN

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..................... THE 20 GREATEST BRITISH BLUES ALBUMS - 1960-1966
.......................... Classic ROCK - Presents THE BLUES MAGAZINE

ROCKMAN

............ CLASSIC ROCK June 2012

ROCKMAN

............ CLASSIC ROCK June 2012

ROCKMAN

* His Majesty, Prince Jones smiled as he moved among the crowd *

..................................... CLASSIC ROCK June 2012

ROCKMAN

........................... Eddie Bond circa 1955

ROCKMAN

Quote
Rockman


........................... Eddie Bond circa 1955

Or, or it could be Adam Levine's dad.

... marooooned us all with that one Palace ...good eye boy ...good eye

ROCKMAN

................... THE AUSTRALIAN - 6 July 2012

ROCKMAN

From today's Toronto Star

Sloan sees good in latter-day Stones
Published on Saturday July 07, 2012

STRINGER/ITALY/REUTERS Mick Jagger, second from left, poses with his Rolling Stones bandmates Ron Wood, left, Keith Richards, and Charlie Watts, July 10, 2006.

The Rolling Stones played their first show on July 12, 1962. Some people think they should have knocked off long before their 50th anniversary, but Jay Ferguson and Patrick Pentland of Canadian rock band Sloan picked some tolerable tracks from the last 30 years.

Patrick Pentland: 30 years of ‘new’ favourite tunes

As the Rolling Stones turn 50, one might exclaim, “What?! Those guys are still around?!” Of course, that would be someone who has been living under a rock (and a hard place), as the Stones have been present and accounted for all these years. While their musical output has slowed, they have continued to release new material, if only for their own enjoyment.

Here is a playlist of “new” Stones songs from the last 30 years that I think deserve a second look.

Undercover of the Night (1983)

The first album to feature an outside producer since Jimmy Miller, this marked the beginning of the famous fights between Jagger and Richards that permeated much of the '80s. It's obvious that Mick was trying to drag Keith into the modern age, given that the guitarist had just emerged from his '70s heroin funk to find himself faced with drum machines and synths. There are dance elements that were new to the Stones sound, which I really liked.

Too Much Blood (1983)

If only for the echoed-out horns and vocals, this tune always stood out to me as an odd mix of Jamaican dub and New York disco. It doesn't really go anywhere, but it was unique nonetheless.

One Hit to the Body (1986)

It's safe to say that Keith had managed to get his senses and some control of the music back. The riffs are very much coming from his open-tuned bashing. You can hear his anger toward Jagger in the opening chords. Suffice to say, there were some kinks to be ironed out between the two.

Sad Sad Sad (1989)

This sounds like an outtake from Keith's other band at the time, the X-pensive Winos. His first album with them as his backing band came out the previous year and you can hear the similarities right off the bat.

Mixed Emotions (1989)

I'm including this because of the refrain at the end of the song, with Keth singing along with Jagger. It seemed to suggest things were improving on the personal front. In fact, the Stones would actually tour for this album and to bigger audiences than ever before. This would also be their last big hit.

Love is Strong (1994)

Not a huge standout, but a single nonetheless. There's that Keith thing about the way the guitars intertwine, “an ancient form of weaving,” as he has famously called it, to chuckles all around. Also, great harmonica playing on Mick's part.

You Got Me Rocking (1994)

Best AC/DC song the Stones ever wrote.

Anybody Seen My Baby (1997)

I really like the chorus on this one, not so much the verse. I'm going to go out on a limb and suggest Keith said, “I've got a great chorus!” And Mick said, “I've got a verse!” And everyone else in the room said, “Well, I guess we need one of those too . . . ”

The last Stones album, A Bigger Bang (2005) is not that great and, at 16 songs, that's saying something. So here are a few solo tunes that probably should have just been Stones songs to begin with:

Take It So Hard (1988)

The first single off of Keith's first solo record. Still one of my faves. I can only imagine what it would sound like with Charlie on the drums. And a real piano . . . what, tight budget?? Get a real piano!

Wicked As It Seems (1992)

Another Keith solo track, slow and insidious, much like the title suggests.

God Gave Me Everything I Want (2001)

Recorded with Lenny Kravitz, and it shows. Like most Kravitz songs, the verse is just an excuse to get to the chorus. Like most of mine, for that matter. Sloan have actually toured with both the Stones and Lenny Kravitz.

Movin' On Up (1991)

so this one's actually by Primal Scream. But it has been called the last great Stones song the Stones didn't write (by me ... just now).


Jay Ferguson: Digging up Stones’ gold

Did the Rolling Stones' golden age end after 1972's Exile On Main Street? If you hung on a little longer, maybe you made it to the era that ended with 1981's Tattoo You, perhaps their last truly fine LP? If, like me, you followed their subsequent 30-year output, you might agree it was a bit trying for the true fan to find tracks that stood shoulder to shoulder with the best of their glory years.

Still, there's some gold (a bit of silver, maybe too much bronze) to be found.

Undercover of the Night (1983)

To be honest, I remember when this song debuted on TV's Friday Night Videos. I thought it was the result of Mick hearing “Union of the Snake” by Duran Duran and thinking “I can do this!” Still, I loved it. With the addition of one of Keith's clangy-est scattershot riffs, Mick's obsession with the current and Keith's deferral to the past (see also “Miss You” and “Emotional Rescue”) have never been better travelling partners.

Harlem Shuffle (1986)

Guilty pleasure to the max. I don't know anyone else who likes this, but almost every Stones LP has a cover, so here it is. It's at least a bit better than their rendition of “Ain't Too Proud Beg,” no?

One Hit (To the Body) (1986)

When Dirty Work, their most maligned LP, was due to be released, Rolling Stone magazine previewed the tracks claiming one sounded like Husker Du. My teenage brain was perplexed. Metal Circus meets Rock and Roll Circus? Yet, upon hearing Keith's electric guitar on this opening track, I realized what the writer was getting at.

Had It With You (1986)

More Dirty Work sniping from Mick (directed towards . . . ?), but with producer du jour Steve Lillywhite's “Grand Canyon snare drum” button switched off. Whoever was behind this track should have produced the whole LP.

Slipping Away (1989)

Did rock 'n' roll archetype Keith Richards begin softening up as he approached 50? Keith reimagines himself as an early '70s gentleman soul balladeer while Mick struts on the JumboTron.

Love Is Strong (1994)

Though it was a return to the game for the band, I wasn't a big fan of the Steel Wheels LP. So when they emerged five years later with this roaming panther of a riff, I was psyched to hear a rawer approach, perhaps courtesy of co-producer Don Was, and that it didn't sound like “Walk The Dinosaur.”

The Worst (1994)

Keith's inner cowboy emerges on this concise, country confessional.

How Can I Stop? (1997)

Did home life with beautiful Patti continue to reign in the renegade? Another slow southern Keith ballad. I was turned on to this song when I saw Feist perform it with Broken Social Scene at Lee's Palace back in 2003 or so. Thanks Leslie.

Back Of My Hand (2005)

OK, yeah it's pretty authentic blues. As if no time had passed since they first visited “2120 South Michigan Avenue” in 1964. If they made an entire record like this, it would perhaps be Keith's dream LP, but Mick would still find a way to get will.i.am involved.

Plundered My Soul (2010)

OK, I'm kind of cheating here. This is a song where the backing was recorded in 1972, and then Mick's awesome vocal recorded in the late 2000s as part of the Exile On Main Street reissue. Had this fantastic track been released as a new single by the Stones in 2010, a parade would have been scheduled in their honour.

[www.thestar.com]

[www.thestar.com]

[www.thestar.com]

........................... WEEKEND AUSTRALIAN - 7 July 2012

ROCKMAN

he looks better.

Maybe that was their secret.....................great quote though







Edited 1 time(s). Last edit at 2012-07-08 23:58 by NICOS.

................ Rhythms July 2012

ROCKMAN

................... New albums - UNCUT August 2012

ROCKMAN

God, journalists are idiots. All I keep seeing is mistakes, like 'Mick Taylor handing in his notice at Goats Head Soup in 1973'. And so they're damn sure of their wrong information.

.................... UNCUT Books- August 2012

ROCKMAN

Seems the book is what we expected then? Some nice pics, as you'd expect from such a mirror archive, but lacking anything new or revealing?

* His Majesty, Prince Jones smiled as he moved among the crowd *

Yeah HM ... it's a picture book
...no-where the info and stories of According To

ROCKMAN

................Rhythms - July 2012

ROCKMAN



Edited 1 time(s). Last edit at 2012-07-10 04:56 by Rockman.

Stanley Booth on life on the road with the Rolling Stones

To celebrate 50 years since their first gig, the Rolling Stones'
writer-in-residence Stanley Booth spoke to GQ about touring with the
band at the height of their fame

When we meet Stanley Booth in a drawing room at Durrants Hotel in London's Marylebone he immediately apologises for his persistent runny nose. "I don't know why," he says by way of an opener, "I haven't done any cocaine." He may be a slight 70-year-old with snow-white hair now, but in his time Booth has hoovered up more than his fair share of high-grade narcotics. A music writer who knew every American great from BB King to Otis Redding, Booth somehow talked himself onboard the Rolling Stones' infamous 1969 American tour and ended up becoming friends and late-night sparring partners with Keith Richards himself. He didn't just live to tell the tale, he wrote the book on it: The True Adventures Of The Rolling Stones, a stone-cold classic of music writing which took him 15 years to complete. For his part, Keith Richards called Booth the band's "writer-in-residence" and said of the report, "Stanley Booth's book is the only one I can read and say, "Yeah, that's how it was"". Here, Booth talks frankly about witnessing the murder of a Stones fan at Altamont, the difference between Mick and Keith's attitude to women and the iconic jewellery he unintentionally inspired.

GQ.com: How did you first meet the Stones?
Stanley Booth: I had an editor at Eye magazine who commissioned me to do a piece about them in 1968. I came over here to London and went to the Stones' office. I told them I was from Memphis and that I knew people like BB King and Furry Lewis, so they never thought of me as a critic. At first I wasn't interested in writing a book about a rock'n'roll band, but then Brian Jones died and I found that compelling. Brian was 27 and his death was a mystery. I wanted to get to the bottom of that.

You'd already written about a host of legendary artists before you came to England. How did you end up in the studio with Otis Redding?
I got a commission from the Saturday Evening Post, of all places, to do a piece about the Memphis soul sound. I went over to Stax and I remember I was outside taking some notes when this white Lincoln limousine pulled up at the curb. Otis Redding got out of the back. I introduced myself to him and then we went into Stax together. I spent the whole week with him. I'll never forget watching him and Steve Cropper record "(Sittin' On) The Dock Of The Bay". I was there for the writing and recording - they cut 'Hard To Handle' and half a dozen others as well. It was thrilling.

Unlike most music books, yours reads like a novel. What inspired you to write it that way?
I was a great fan of Capote's In Cold Blood and also Gay Talese. He was the guy who really taught me how to do what I do. I don't find him very morally appealing, but he was a hell of a writer. He had a beautiful, wise and talented wife but when he wrote Thy Neighbour's Wife he was going around screwing 19-year-olds in massage parlours. I found that very unappetising.

What was it like to be on tour with the Stones in 1969?
It was exhilarating! Those shows were just awesome. I watched the Stones play live every night You couldn't do it today. In those days everybody was together. We were one little force, maybe eight or ten of us altogether. We all trusted each other and we didn't have personal problems. We developed personal problems later. When they started having people like Capote on the tour in 1972, he said, [In whiny Capote voice] "There's no story!" I thought: "Oh, thou fool!" I knew there was a story, because I was writing it. Capote was not equipped to understand or deal with the Rolling Stones.

William S Burroughs was supposed to join that tour as well, wasn't he?
Burroughs was really above the fray, but he was very helpful to me. He lived in London at Duke Street, St James and I'd go and see him at his flat. He gave me a lot of good advice. We talked about Scott Fitzgerald, whose work he valued very highl, and he told me to read Carlos Baker's book about Hemingway. He also told me not to smoke hash in front of the window. Those were both pieces of good advice. Uncle Bill was aware that he was a very famous junky, probably the most famous junky in the world at that time.

What was the biggest misconception about the Stones?
That they were motivated by some sort of satanic influence. People think they hired the Hell's Angels for the concert at Altamont. Nobody hired the Hell's Angels. There were half-a-million people there and 500 of them happened to be Angels. It was a hopeless situation as far as security was concerned. It was really one of the most terrifying experiences of my life. I was right behind Keith's amps when I saw this Angel kill Meredith Hunter. This 18-year-old black man was right in front of the stage with his white girlfriend. The Angels don't like black people anyway. Some Angels kept pushing Meredith away from the stage. At some point he reached into his coat and pulled out a nickel-plated revolver. He signed his own death warrant. That was not the right thing to do. He didn't live another five minutes after he pulled that gun out.

Did the Stones know immediately what had happened?
No, I don't think they had any idea. They just knew it was a very bad scene with a lot of violence. We saw Angels hitting people over the head with lead-weighted pool cues, using them like baseball bats. After Meredith died the Stones played for another hour-and-a-half and they played a brilliant, brilliant show. It was an heroic performance on the part of the Stones. At that point we assumed that several people had died. We saw so many people knocked down and pounded on.

Keith was not a womaniser. He would show up with a girl occasionally but Mick indulged himself in fornication to an unpleasant degree


What was a typical night with Keith like?
It depended on what we had. If we had cocaine, we'd do cocaine. If we had heroin, we'd do heroin. Not injecting, but snorting the light brown powder. It was most gratifying. Speedballs were good stuff. I don't look for inspiration in drugs anymore. I still smoke grass, but that's different. Grass is a vegetable. Keith and I spent a lot of time together with nobody else around. He had a tape-recorder that looked like a World War II radio. He had blues songs that I'd never heard, like "Shave 'Em Dry" by Lucille Bogan. "Oh Daddy, won't you shave me dry / you can grind me, Papa / grind me 'til I cry."

Would Keith have been as inspired without drugs?
He used drugs to stay awake. The Stones would work for days on end, and you couldn't do that without some kind of fuel. Keith wouldn't have been the same without them, of course.

What's your favourite memory from that time?
I had some very pleasant days at Keith's house in the south of England. After a certain amount of time Anita would throw you out, which I never particularly appreciated, but she was really hot in those days. Really f***ing beautiful

What did you learn from being in the studio with the Stones?
They inspired me by example. I'd never seen any band work as hard as the Rolling Stones. They really inspired me to work harder as an artist, or in my attempt to be an artist. At Muscle Shoals they cut three tracks: "Wild Horses", "You Gotta Move" and "Brown Sugar" and they played for three days straight. At the end of the session Charlie went back to the drum-set and started playing again. Keith said, "Look at that! That's a rock'n'roller." At one point [Atlantic Records President] Ahmet Ertegun called me at my motel room at the Holiday Inn and said, "If you guys have any dope you better flush it because the cops are going to try and bust the session." That was a shame. I wasn't about to flush no dope away!

After Keith's Life, do you think Mick will ever write a book?
F*** no! When I was working on my book my editor, a fatuous and callow young man, called me and told me that Mick had signed a contract for $2m to write a book. I told him that Mick wouldn't do it. Sure enough, a few months later Mick gave the money back. I didn't consider it possible for one minute that Mick would write a book. He's got too much womanising to hide.

Was Keith's attitude different?
Keith was not a womaniser. He would show up with a girl occasionally but Mick indulged himself in fornication to an unpleasant degree.

As well as the music, the Stones have had a huge influence on men's style. What did you think of the way they looked?
Well, I had the original skull ring! I was walking down the King's Road one day in about 1970. There used to be all these wonderful shops and I passed this little store that had a lot of silver in the window. It reminded me that when I was a little kid I'd had a cowboy comic book with a skull ring advertised on the back page. It had stones in its eyes that glowed red like fire in the daytime and blue like the stars at night. So I bought the skull ring and wore it that night to a Stones session. Keith saw it and immediately copped the idea. I've never gotten any credit for that! I don't have the original one anymore. [Pause] I broke it on the head of a whore. [laughs]

............................... [www.gq-magazine.co.uk]

ROCKMAN

................Rhythms - July 2012

ROCKMAN

ROCKMAN