О Rolling Stones замолвим слово

Свежий выпуск "Classic Rock" [June 2010] Stones In Exile

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Смотреть всем!!!))) :

Ну, что ж, Мик Тэйлор очень даже понравился.

Новости о продажах пластинок.

Как-то ускользнуло от внимания то, что это - не просто переиздание Exile, а по сути мы имеем дело с... новой ЕР Стоунз! Ведь на CD#2 (10 песен) - многие треки были дозаписаны\сведены буквально вчера

P.S. Наверное, буду банален\заезжен, но "Plundered My Soul" - шикарна

Кое-что о Ронни и the Faces :

Тут событие роллинговское в Москве образовалось уже завтра!
До битлзру что-то инфа не дошла, так что копирую:

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НОЧНОЙ ПОКАЗ
представляет

в кинотеатре "Художественный»
(Москва, Арбатская пл, 14, тел: 691-02-47)

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5 июня 2010 года
«Ночь The Rolling Stones»
==========================

23.00 - сбор гостей: музыка, кофе-чай & хэппенинг* (ГИТИС)

00.00 - «COCKSUCKER BLUES» (скандальный документальный)

01.40 антракт 1: ЖИВОЙ КОНЦЕРТ "The Stone Shades" (Rolling`s covers), кофе-чай & хэппенинг* (ГИТИС)

02.20 - «STONED» (драйвовый художественный)

04.05 антракт 2: DJ Mika: танцы 60-70х,
кофе-чай & хэппенинг* (ГИТИС)

04.45 - «VOODOO LOUNGE 1994»
(легендарный концерт)

06.05 напевая, выходим на утренние улицы)

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подробности:
http://vkontakte.ru/event18051221

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*хеппининг – вид представления, где актеры свободно импровизируют в рамках заданного образа и сюжета, предполагающий активное зрительское участие.
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• Cocksucker Blues (1972, США, 95 мин)
Документальный фильм Cocksucker Blues назван по непристойной песне, написанной от лица гомосексуалиста-проститутки и снят во время гастрольного турне группы. В нем запечатлены музыканты, их жены и подружки в разные моменты гастролей. В фильме показаны эротические оргии, ссоры между музыкантами, есть сцены неоднократного приема наркотиков. Мик Джаггер высоко оценил результат, но тиражирование и распространение фильма было группой запрещено, легально «Cocksucker Blues» никогда не издавался.

• Stoned (2005, Великобритания, 100 мин)
Художественный фильм о жизни основателя Rolling Stones Брайана Джонса короткой и неистовой с ее шумными групповухами, невообразимым декадентством и музыкой разрушающей все каноны. К 26 годам он приобрел всемирную славу и баснословное богатство. Через год его не стало.

• Voodoo Lounge (1994, США, 75 мин)
Концертая запись. В 1994-95 годах The Rolling Stones установили абсолютный рекорд прибыльности гастрольного тура — Voodoo Lounge, оно стало самым прибыльным турне всех времен. Команда отыграла 62 шоу вместо 28 запланированных.

Хулиганим и бунтарим всю ночь!
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БИЛЕТЫ В КАССЕ К/Т ХУДОЖЕСТВЕННЫЙ
ЦЕНА БИЛЕТА НА ВСЮ НОЧЬ: 500 РУБ

Да вот Ронни тут смотрю на фотке,
Так что,
С Днем Рождения Ронни!

И Чарли,
Тоже с днем Рождения!

Здоровья Вам!

http://www.kino35mm.ru/festival.php?fest_id=110&lang=rus

Еще в кинотеатре 35мм показывают:

6 июня, воскресенье
21:00 Stones in Exile

Ронни готовит к выпуску новый альбом.

'I FEEL LIKE PLAYING'

Трэк-лист (предварительный):

Why’d You Wanna Do A Thing
Sweetness
Lucky Man
I Gotta Go
Thing About You
How Am I Gonna Catch You
Spoonful
I Don’t Think So
100%
Fancy Pants
Tell Me Something
Forever

2sergey ROLLING STONES
>Тут от Роллинг Стоунз всего один иннер слив. 3 других иннера к Роллинг Стоунз не имеют не какого отношения 100%.
Только что вернулся домой и прочитал сообщение. А я и не утверждал что эти конверты от роллингов.

+++ Rolling Stones' secret documentary +++

There are secrets, and then there are secrets. With all the carefully recalibrated stories about drug excesses and sexual high jinks during the recording of the Rolling Stones’ 1972 album Exile on Main St, it’s hard to believe there could be anything that Mick Jagger, Keith Richards and the rest of their band of groovy, deeply grooved superstars could possibly have to hide or be ashamed of. So it’s astonishing to discover that, for nearly four decades, the Stones have vigorously enforced a strict legal injunction banning the screening of a documentary about them, a film some of the few people who have seen it think is a masterpiece.

Called @#$%& Blues, after a raunchy Stones song of the same title that Jagger dared the record label to release (it didn’t), the documentary was mainly shot during the Stones’ 1972 tour of North America, just after they had released Exile. It was directed by the photographer turned avant-garde film-maker Robert Frank, best known for reflecting 1950s America back at itself in the collection of street photography titled simply The Americans. Frank, a Swiss Jew born in Zurich in 1924, had emigrated to America in 1947. The grainy black-and-white cover of the Exile on Main St album is one of his works.

Under the terms of the injunction, which Frank fought at the time, CS Blues can be shown only a limited number of times a year. The photographer, who is now 85, has been a virtual recluse in Nova Scotia for the past few decades. He owns one of the only two prints of the film; his is reportedly unprojectable now. The Stones own the other print. One of the rare contexts in which it has been legally shown in the UK was during a retrospective of Frank’s work at Tate Modern in 2004, where it was screened eight times. Until recently, when pirate copies began appearing on the internet, the few people who had managed to see the film had watched it on bootleg VHS videos of dubious quality and provenance.

In part because of its outlaw cachet, CS Blues has become an iconic “text” in the history and mythology of the Rolling Stones. The film even appears as a short chapter in Underworld, Don DeLillo’s 1997 novel about the cultural history of 20th-century America. Nick Broomfield, the English documentary film-maker, who rates the Stones as his all-time favourite band, first saw it at a rare screening at an art-house cinema in Los Angeles in about 1980. Well, part of the film.

“It was a big cinema, and it was completely full,” recalls Broomfield, who has made documentaries about Kurt Cobain and the rappers Biggie Smalls and Tupac Shakur. “About half an hour into the film, these stink bombs, smoke bombs, went off, and they cleared the cinema. The story going around was that the Stones didn’t want the screening, and that somebody had deliberately let these things off. Who knows?” It was another two years before Broomfield managed to see the rest of the documentary. His verdict was, and remains, unequivocal. “I think it will survive as one of the greatest rock’n’roll films ever made,” he says. He believes it’s on a par with Don’t Look Back, the documentary made by DA Pennebaker about Bob Dylan’s 1965 British tour. “Any documentary film-maker would have been exceptionally proud to have made it.”

The 1972 North American tour was important for the Stones, and was shaping up as a big cultural event, with celebrity writers such as Truman Capote covering it. Their tour of America in 1969 had culminated in mayhem and murder at the Altamont Free Concert, events captured in brutal detail in the documentary Gimme Shelter, which showed a member of the Hell’s Angels security detail at the concert stabbing a man to death. The Stones hired Frank, then 47, to cover the new tour vérité-style, partly because they liked his photography, but also because they were admirers of his 1959 avant-garde documentary Pull My Daisy, which was adapted from a play by Jack Kerouac and had an improvised narration by the Beat writer.

It’s hard to know whether or not the Stones really understood what Frank was up to. According to Susan Steinberg, who edited the film: “He had no interest in the music at all. He hired a separate crew to film the music sequences.” Frank used three kinds of cameras, including one left lying around for anyone in the Stones or their large entourage to shoot with. Starting as the band were mixing Exile in LA and finishing some two months later with the final concert at Madison Square Garden, in New York, Frank, and others, including Jagger, shot about 25 hours of footage.

+++ На фото: Mick Jagger by the pool at Michael Butler's house in Los Angeles +++

(окончание)

As Steinberg discovered when she started editing, a lot of it was of poor technical quality, because one of the film magazines had a light leak in it. Not that it bothered Frank. She says that as she started watching the footage, she found herself “drawn into how Robert saw things, how he experienced their world. I felt like I was there with them”.

And that, through the fractured, grainy, loose, swirling images and deconstructed sound, is how the finished film comes across. (I have seen a pirated version.) We feel we’re there, hanging with the Stones and their entourage — backstage, in hotel rooms and corridors, in planes between cities, in cars between gigs. We feel we’re getting a visceral sense of what it must really have been like to be in and around the world’s biggest and baddest rock’n’roll band, at a time when that really mattered. While many scenes feature nameless members of the endless entourage, Frank’s documentary is also spattered with socialites eager to get close to the flame, including a bored Bianca Jagger, whom Mick had recently married, and who had her own posse, and Princess Lee Radziwill, younger sister of Jackie Kennedy.

So why is CS Blues so controversial? Where to begin? The film shows things that are only hinted at in most documentaries, including The Stones in Exile, the group’s new sanitised, self-produced documentary about their sojourn in France making the album, shown recently on BBC1. (The Stones in Exile includes about 10 minutes of judiciously selected outtakes from Frank’s footage.)

Frank casually shows people shooting up heroin, including a beautiful young groupie in a hotel room choking off her veins and plunging a needle into her arm as Richards watches. He shows Jagger snorting a large mound of cocaine off a switchblade; Jagger filming himself in a mirror, with his hands down his tight pants, starting to masturbate; a groupie lying on a bed, her legs spread, rubbing semen into herself; Keith rolling up a dollar bill to snort coke. And, in the most disturbing scene, two groupies being jostled by roadies on a plane, then having oral sex performed on them as Jagger and Richards look on, nonchalantly banging tambourines.

“I didn’t censor anything,” says Steinberg, who was just 22 when she edited the film in Frank’s loft in the Bowery, New York. “I went for the blood and the guts, the sex, drugs and rock’n’roll. I saw quite clearly that it was a film about being behind the scenes, not about what’s on stage; about being on the road, being back in those hotel rooms with them, seeing the underbelly of the boredom, the ennui, the drugs, the girls.”

At first, says Steinberg, Jagger seemed happy with it. “At that time, they loved being the bad boys, so this film was a direct expression of how they perceived themselves.” But the Stones and their lawyers were worried that such open drug use, in particular, might get the band banned from America, so the film was shelved. Then, in 1977, Steinberg got a call from the Stones saying that they were keen to see if a re-edited version could be released. Steinberg says she simply shortened some scenes. I ask whether she took out shots of Richards shooting up heroin. “Well, this is going to be printed, and they’re going to kill me, so I don’t know quite what to say,” she says.

It’s many, many years later, I say.

“I know. Many, many years,” she says. “Look, I can’t remember the exact shot, but it was clear that Keith had shot up. Even now, in the film, you see that scene of him nodding out in the dressing room, going lower and lower into that girl’s lap. It’s quite clear that he was using heroin.”

While Steinberg was recutting the film, Richards was busted for heroin in Toronto. One of the Stones’ lawyers came to see it and said, Steinberg recalls: “‘There’s just no way you can show this film.’ And that was that.” According to the late Allen Ginsberg, a friend of Frank’s, Jagger told the director: “It’s a f***ing good film, Robert, but if it shows in America, we’ll never be allowed in again”

While that may have been a valid justification for keeping the film under lock and key at the time, it can hardly be now. I mean, the Stones have even played the Super Bowl. The truth may be that what troubles Jagger and the band is that CS Blues so ruthlessly deglamorises what the Stones have always been so keen to mythologise, their “elegantly wasted” rock-star lifestyle. Instead, Frank shows us a world that is “empty and dehumanising, a blur of people in rooms, waiting for the time between gigs”, said one writer, making being in the world’s biggest rock’n’roll band “look like such a soul-destroying, achingly empty hell”. As DeLillo puts it in Underworld: “The camera phalanx in the tunnels. People sitting around, two people asleep in a lump or tripped out or they could be unnoticeably dead, the endless noisy boredom of the tour — tunnels and runways.”

Broomfield is exasperated that people should be judgmental about what Frank shows in CS Blues. “I don’t think you can look at it as a bleak vision,” he says. “Maybe that’s why the Stones don’t want it out, because they are worried that people will judge it like that. It is a complex portrait of some really brilliant artists, of people who are pushing the boundaries in all areas, an amazing portrait of the greatest rock’n’roll band ever at the height of their creativity. It is what it is.”

Dancing In The Light
(Mick Jagger / Keith Richards)

Rolling Stones Mobile Recording Unit, Stargroves, Newbury, Berkshire, UK & Olympic Sound Studios, London, UK, March - May 1970 and
One East Studio, New York City, New York, US,
Henson Recording Studios & The Village, Los Angeles, California, US, Fall 2009

Mick Jagger - vocals, acoustic guitar, percussion
Keith Richards - electric guitar
Charlie Watts - drums
Bill Wyman - bass
Ian Stewart - piano
Jimmy Miller - percussion

I'm sitting in the darkness, you're dancing in the light
You really hit the big time, I really took a dive
I'm running in the rain, you're dancing in the light
I'm waiting for the train that never will arrive
You left me twisting in the wind, dangling in the night
You'll be Mr. Christian and I'll be Captain Bligh
Look at you with your face all shining, got some new work and some realigning
Now that your nose got some redefining, you look like a million bucks
I got a sinking feeling, you and your wheeling dealing
I'm gonna hit the ceiling, bang the ground with a bump
My whole world is crashing, I took a violent bashing
Something to thrown the trash in, I'm in the garbage dump
What'd I ever do, you treat me so bad
You're living in a penthouse, my flat is dark and damp
Yeah, what's the matter, baby, we used to be so tight
I'm living in the gloom while you're dancing in the light, yeah
I got that sinking feeling, whose potatoes are you peeling
Can't you hear my poor heart squealing, I'm in the garbage dump
Ah, what' s happening, yeah
You're lying in the sunshine, I'm hanging in the cloud
You're basking in the spotlight, I'm lost there in the crowds, yeah
What am I gonna do about ya, what am I gonna do
What am I gonna do about ya, what am I gonna do
I don't have a clue without ya, what am I gonna do
I'm in a dark place, baby, I gotta, I gotta wear a grim face, baby
You got me with the heartaches, yeah, get me out of the darkness
What am I gonna do without ya, what am I gonna do
If I was your new boyfriend, I would have stage fright
While you're riding in a limo, I'm wheeling my bike, yeah
What am I gonna do without ya, what am I gonna do
What am I gonna do without ya, what am I gonna do
Oh yeah, oh yeah, dancing in the light, dancing in the light, come on, yeah, gonna do

Produced by Jimmy Miller, Don Was & The Glimmer Twins

First released on:
The Rolling Stones - “Exile On Main Street” 2CD
(Universal 273 429-5) UK, May 14, 2010

+++ Keith Richards to release album of Rastafarian spirituals +++
( guardian.co.uk, Monday 7 June 2010 )

With the Rolling Stones' Exile On Main Street still riding high in the charts, Keith Richards is revisiting another decades-old project, releasing new music with the Wingless Angels. Wingless Angels II, an album of Rastafarian spirituals, is the group's first release in 13 years.

Richards began playing with Jamaican singer Justin Hinds in the early 1970s, when he visited Kingston. "I was just one of the crowd," Richards recalled. "They had no idea who the Rolling Stones were. They didn't even give a shit." Together with Hinds, a celebrated ska and rocksteady musician, Richards jammed with neighbours, local fishermen and divers, exploring Rasta chants, Nyabinghi drumming and the country's devotional traditions. Although amateur recordings of the sessions began in 1972, formal studio production didn't happen until 1995, when a friend of Richards arrived at his Ochio Rios home in a mobile recording truck. The first Wingless Angels album was released in 1997, on Richards's own Mindless label.

Hinds, former leader of ska group the Dominoes, died in 2005. "He [was] a diamond," Richards said. "When you hear his voice, you just get a nice warm glow. He was always incredibly attuned to what was going on around him, and he would calm other brothers down if they were getting too jumpy, or stop a fight from going on if he had to." But Hinds was also a remarkable singer. And in the year before he died, Richards had once again been recording their collaborations, preparing for a possible release.

Now, those tapes will see the light of day. "It was very organic," Richards explained. "Justin would just say, 'OK, let's take up a beat', and he would start chanting, with the drums going. We'd start in the afternoon and go 'til 11 or 12 o'clock at night." Nothing was planned, Richards said. "You can't get artsy with the tracks or anything. It is what it is. I realised early on that this was the way I wanted to record this band. They've got to feel free just to do it, and that's it."

The result – streaming now at the Wingless Angels website – is a world away from the Stones' blues rock. With proceeds from the album going to Hinds's family, according to a recent interview, Richards is also reissuing the first Wingless Angels as part of a double-disc set. "[Wingless Angels] play deliberately at just slightly under heart rate," Richards said. "The drumming goes deeper than your bones. It's marrow music." The album is out on 23 September.

Ронни выпускает новый альбом. Очень интересно!

Из всех сольников Рона (я у меня нет пока только концертника 1993г.) мне больше всех понравился Slide on This (1992г.). Именно так, чтобы все или большинство треков. И запомнился альбом не столько сочными гитарными партиями Ронни, и мастерством его друзей-музыкантов, а именно вокалом. Такое чувство, что на этой пластинке он постарался спеть как можно лучше. Скорее всего, здесь большая заслуга бэк-вокалиста Стоунз Bernard Fowler. Он был и продюссером записи, и заметно поучаствовал в вокальных партиях и ему, каким-то образом, удалось настроить Рона на хорошую работу в плане вокала. Работа над альбомом упоминается в автобиографии Вуда - Ronnie. Что до альбома, то он сильного распространения в широких массах не получил, как я могу судить, но ценности его этот факт не снижает.

http://en.wikipedia.org/wiki/Slide_on_This

Montreux Rehearsals (May 21st, 1972):

часть 1 :


часть 2 :


часть 3 :


The Rolling Stones-Sweet Virginia (Live 1972) :


The Rolling Stones - Following The River :


The Rolling Stones - Pass The Wine (Sophia Loren) :


Stones in Exile Trailer :

Июньский выпуск испанского номера "Rolling Stone"