О Rolling Stones замолвим слово

Mustique Blues Festival 2005

Rock Me Baby-Luddy Sams
Dust My Broom-Mick Jagger
Smooth Sailing-Zach Prather
Having Fun Ain't A Dying Art-Dana Gillespie
Mean Old Eastern-Marques Brothers
Boogie Woogie Bugle Boy-Dino Baptiste
Wine Head-Big Joe Louis
Wang Dang Doodle-Felix Denis
My Sweet Jelly Roll-The Marques Brothers
Juke Joint-Ben Shaw
Going Down-Mick Jagger
Put the Shoe on the other Foot-Zach Prather
Timeless-Dana Gillespie
634-5789-Luddy Sams
Lining Track-Jeremiah Marques

2Primal Scream:

Мистик Блюзфестовый уже вышел, Праймал :-)))
А я сегодня порадовал себя вот этим....

фсё, как на винилах: и зипперы, и постеры, и фкладышы и проч. муйня...
Звук великолепный.
Спасибо , Тошыбе унд И-Эм-ай, ну, Вёрджинам там разным, и прочим Роллингам :)

Взял-таки и Tim Ries "R.S. Project".
Звучит забавно...и оч. профессионально :-)
Оч. весело слышать, как в Slippin' Away звучит "мурлыканье" в нос афтора Киффа.
"Окрась ЧернОтой" (почти по Михал Афанасичу получсилося :-) или "Дикие Лошади" с Норой Джонс -- очень достойно.
Записано на "Concord Records", а это значить, шо имеет прямое отношение к "Blue Note" -- неоспоримое тавро высшего джазового качества.

Ronnie Wood - Out Of The Studio - Art Exhibit Opening
http://www.wireimage.com/GalleryListing.asp?navtyp=gls===150014&Source=nws051118

Есть основания ожидать что, официальные даты европейского тура Rolling Stones, будут объявлены до середины декабря.
Смотреть можно тут:
http://www.iorr.org/tour05/tour06.htm

Mick Jagger Slams Tony Blair For the war in Iraq...
11/20/2005

Mick Jagger has launched a scathing attack on Tony Blair for going to war in Iraq.

The news will be like a knife to the heart for old Tony, who is a big fan of the Stones and recently tried to boost his appeal to the music industry by attending the Music Hall of Fame.

The big lipped Rolling Stones frontman told Spanish reporters: “It makes me angry that Blair already knew that arms of mass destruction were simply an excuse and had nothing planned for the day after."

He continued: “In Iraq, you have three irreconcilable groups - the Shiites, the Sunnies and the Kurds. Either you establish a very well thought-out system of confederation, or something will break. Only now is the United States discovering the reality of Iraq."

It’s not the first time The Rolling Stones have slammed politicians. Their song ‘Sweet Neo Con’ is an attack on Bush’s administration, containing lines like: "You call yourself a Christian, I call you a hypocrite / You call yourself a patriot, well I think you're full of shit.

It continues: "How come you're so wrong? My sweet neo-con, where's the money gone, in the Pentagon."

As previously reported on Gigwise, the PM also came in for a bashing from Damon Albarn last week for attending the Music Hall of Fame. He said: “Call me old fashioned, but who on earth invited Tony Blair here tonight?”

http://www.gigwise.com/news.asp?contentid=10771

Jason Mraz Goes Live with the Rolling Stones

Jason Mraz has been hand picked by The Rolling Stones to support the group on five dates of their 'A Bigger Bang' tour. The first date was this Friday, November 18th in Las Vegas, NV.

'It is such an honor for me to be playing with the Rolling Stones, ' says Jason. 'Growing up listening to the Stones, I never would have imagined that some day I’d be playing on the same stage as them. This is incredibly exciting for me.' Jason Mraz is currently on a sold-out U.S. headlining tour that will wrap in mid-December. In addition, Jason will perform a concert in his hometown of Mechanicsville, VA on December 11th to benefit his alma mater's choir, the Lee Davis High School Chorus, in partnership with the Hanover Education Foundation.

Jason's current album, MR. A-Z, debuted at #5 on the Billboard 200, and comes nearly three years after his breakthrough debut, the RIAA platinum-certified, Waiting For My Rocket To Come. MR. A-Z was produced by Steve Lilywhite (U2, Dave Matthews Band) and features the new single, 'Geek in the Pink'.

Забавно, посмотрел японские минивинильные релизы 2005-го (гробик с музыкой) и штатовские "Верджин" серию 2005 в слип-кейсах...Дык разные "конторы" делали ремастеринг и отцифровку с плёночек...
Короче, разные пироги...воть.

2john lee hooker:

>Забавно, посмотрел японские минивинильные релизы
>2005-го (гробик с музыкой) и штатовские "Верджин"
>серию 2005 в слип-кейсах...Дык разные "конторы"
>делали ремастеринг и отцифровку с плёночек...
>Короче, разные пироги...воть.

Вот так открытие, видимо прошлые переиздания еще более разные...

ышо забавнее, шо оба мастеринга делали в Амэрике...Но в разных местностях...
Внутрикорпоративная конкурэнция налицо...
Куда смотрють буржуи?

Наконец-то удалось выкроить время на очередное обновление сайта...
Так что, кому интересно -- добро пожаловать: http://rustones.narod.ru/whatsnew.htm

2Sam_T:

>Наконец-то удалось выкроить время на очередное
>обновление сайта...
>Так что, кому интересно -- добро пожаловать: http://rustones.narod.ru/whatsnew.htm

Поздравляю с долгожданным обновлением вашего замечательного сайта!
Дальнейших успехов в этом и прочих делах!

Сегодня купил RARITIES 1971-2003
Дабы прояснить ситуёвину "откедова" унд решить дилему "брать-не брать" выкладываю текст буклета:
THE ROLLING STONES'
universe is finite, contained and searchable. There are the known studio works and the authorized live records, the singles with their semi-exotic B-sides and the recordings of shows traded quietly on the gray market. Somehow, though, that's not the whole story. There is more. There has to be more.

A band that has been in the trenches for more than 40 years couldn't help but leave some juicy bits on the cutting-room floor or log some lost-weekend studio time that somehow escaped fan-club notice. By the estimate of guitarist Ron Wood, just about every Stones studio project yielded more songs than were represented on the finished project. The rejected ones, Wood says, mostly fade away: "There are songs we've done for albums in the past that I've thought, oh, it's a shame that song didn't make the album. Then you get carried away with promoting it and you forget about it."
Mick Jagger says there's a significant trove of unreleased material and unfinished song scraps in the vault. And he expects that most of it will

stay there. "As we say in England, it can get a bit trainspottery" going through decades of old material on the hunt for hidden gems. "There are some really great things [in the archives], but there are a lot of mediocre things. I mean, you have to edit your own material."
The Stones have, indeed, been sharp editors, approving only a handful of rarity releases over the years - many of the ones in this set have been available at one time or other somewhere in the world. The studio tracks, which span several decades, fill in a few puzzle pieces. The live material suggests that the Stones never stopped investigating blues and R&B, even when their studio explorations took them in other directions. Charlie Watts, for example, has a certain fondness for the "Miss You"-era experiments. Noting that the Stones

have always been a "dance band," he says he's surprised how much James Brown filters into the songs of that era: "A lot of times they end up sounding like James would have done them. If you're lucky they end up like that."
Those latter-day songs are a million miles away from the band's roaring Willie Dixon covers from the 1960s or the early 1970s arena anthems, yet somehow they share the same essence. This is what most surprised Keith Richards: "When you listen to it all, there is definitely something that goes through whatever we've done since, I don't know, we were 19. Some basic thread that runs through everything and you can always grab onto it. Half of it is a feeling, and half of it is just the style we developed."

1.FANCY MAN BLUES
The Rolling Stones never lost touch with the blues, though, in the 1980s and 1990s, they relegated occasional explorations in the 12-bar form to the deep margins. This Jagger-Richards original was recorded at Air Studios in Montserrat, and appeared as the B-side to the Steel Wheels single "Mixed Emotions." It was also track one on After the Hurricane, the George Martin-produced album to benefit victims of Hurricane Hugo, which ravaged the Caribbean in September 1989. "Fancy Man" ranks as one of the band's most harrowing latter-day blues: After several embittered verses complaining about the two-timing woman with a fancy man on the side, Mick Jagger picks up the harmonica for a stupendously ear-splitting, edge-of-distortion solo that tells the tale of woe all over again.
2. TUMBLING DICE (LIVE)
This live version of the Exile on Main Street single was recorded for - but didn't appear on - Stripped, the 1995 "unplugged" project drawn from tour rehearsals and live club gigs (in Paris and Amsterdam) along the Voodoo Lounge tour. The first two verses are accompanied by just loose handclaps and Chuck Leavell's barrelhouse piano. When the rhythm section finally arrives, it becomes a steamrolling stomp that's a touch slower and bawdier than the original. Like many of the Stones' warhorses, "Tumbling Dice" has undergone changes in tempo and character over the years; Keith Richards says this is the definitive rhythm. "The minute we sort of took it down to the bone, it was clear there's only one tempo for that song."
3. WILD HORSES (LIVE “STRIPPED” VERSION)
Included on Stripped, this was recorded live before an audience at the Toshiba/EMI studios in Tokyo. It's a particular favorite of Charlie Watts. "It's very, very well played. Everyone knows [the song] really well and it just came off." He believes Stripped is one of the band's most underappreciated efforts. "If they consider Exile a good record, Stripped is the next best. It's a great album, actually, in part because it was done on tour."
4. BEAST OF BURDEN (LIVE)
Recorded at a Los Angeles show in 1981 (and only available as a B-side to "Going to a Go-Go" and on the Sucking in the Seventies compilation), this catches the Stones during the Some Girls era, when disco debauchery lingered in the air and the band was in the midst of a reinvention/transition. Tucked between the sleekly rhythmic dance songs of Some Girls, this timeless ballad suggested that even when being trend-conscious, Jagger and Richards could crank out unassailable classics. The interplay between Richards and Ron Wood shines here, as the two take turns tucking barbed-wire guitar phrases between Jagger's vocals. Another treat: Jagger's ad-libs as the song ends, which elaborate mightily on the original. "I don't want you washing my clothes!' he declares, beginning a long and highly specific list that includes "I don't want you changing my baby's diapers" and "I don't want you to come into my kitchen."
5. ANYWAY YOU LOOK AT IT
If you didn't know the date of this pensive tune, which appeared as the B-side of "Saint of Me," from 1997's Bridges to Babylon, you might think it hails from the Stones' mid-1960s psychedelic-pop phase. It's a reflective moment of a song, a fragile little melody supported by solemn strings. It's also the rare Stones track to feature leads by both Jagger, who sings most of the song, and Richards, who enters like an apparition from the deep mists to deliver the closing lines of the bridge.
6. IF I WAS A DANCER (DANCE PART2)
"This band is not really big on going back to things we've done," says Richards. Jagger suggests one reason why: The Stones would rather move on than labor over something that's not working. "It's just as easy to write new [material], to be perfectly honest," Jagger says. Still, the catalog does contain several songs that underwent revision, including this one, the first Stones song to credit Wood as part of the songwriting team. "Dance (Pt. 1)" was released on 1980's Emotional Rescue; this subsequent version, bolstered by an agitated horn section and a shoop-shoop beat, appeared on Sucking in the Seventies.
7. MISS YOU (DANCE VERSION)
"That was the first remix that I ever did," Jagger recalls of this extended version of "Miss You," which was also the band's first-ever 12-inch single. With the help of engineer Bob Clearmountain, Jagger took the basic tracks and extended them, looping the distinctive bass line and electric piano figures, then adding ad-libbed guitar crosstalk and the harmonica of Sugar Blue, a Chicago native the Stones discovered playing in a Paris Metro station. The result was an eight-minute party unlike anything the band had done before. Jagger disputes the notion that Some Girls, and this song in particular, marked the beginning of a Stones disco infatuation. "We were doing lots of rock music, really," he says. "You know, that sort of punk version of 'Just My Imagination' and 'When the Whip Comes Down.' The only dance thing we did was 'Miss You,' really. That's it."

8. WISH I’D NEVER MET YOU
This B-side to the Steel Wheels track "Terrifying" begins with Jagger humming, Howlin' Wolf style, as the band settles into a lazy, last-set slow blues. Rarely performed live, "Wish I'd Never Met You" gathers steam as it goes; by the last few choruses, the guitarists are throwing fire while Jagger unleashes a torrent of bitter and bitchy ad-libbed broadsides.
9. I JUST WANNA MAKE TO YOU (LIVE)
Introducing this treatment of the Willie Dixon blues warhorse, which was included on the No Security live album in 1998, Jagger tells the crowd that the band used to play it "very fast" in the old days, "and now we do it slow." He meant the really old days: The band first performed the song on a BBC Radio session in 1963. And he meant really slow: As the Stones saunter along like predatory cats on the prowl, their restraint gives Dixon's expression of raw hormonal need a new dimension.
10. MIXED EMOTIONS (12’’ VERSION)
By the time of Steel Wheels, the band was well versed in the industry practice of creating radio and vastly different club-targeted versions of singles. This is one of four renderings of "Mixed Emotions" that producer Chris Kimsey did on what became the first Steel Wheels single. Kimsey emphasized different elements with each mix-this one has thicker harmony vocals and the lead vocals sit more up front. The song wasn't a massive hit upon release, but it holds up splendidly. It's another 1980s artifactthat decimates the argument that the Stones lost the creative handle after Some Girls.
11. THROUGH THE LONELY NIGHTS
Every member of the Rolling Stones has different favorite rarities, but all praise this trembling little song, which was the B-side to 1974's "It's Only Rock 'N Roll." Although "Lonely Nights" dates to the days when his predecessor, Mick Taylor, was the Stones' second guitarist. Wood says, "I love that." Jagger remembers it as a "really nice medium-tempo ballad with nice harmonies."
12. LIVE WITH ME (LIVE)
The swaggering invitation "Don't you want to live with me?" was first heard on 1969's Let It Bleed, and it still jolts all these years later on this eye-opening live version from No Security. Built on a pulsating backbeat that's closer to Stax-Volt R&B than rock, "Live with Me" is further proof that no matter where on the timeline you stop, you will find the Stones updating their original inspirations and transforming everyday backbeats into a unique signature. Those looking for the essential DNA of rock 'n' roll will find it everywhere here, in Watts' locomotive drumming (with tambourine riding shotgun), in the taunts of a clarion voice that can sound larger than life and in the electroshock jabs coming from two rhythm guitars.
13. LET IT ROCK
"Before my time," says a smiling Wood. Sure enough, this Chuck Berry cover, recorded live at Leeds University in March 1971, is one of only two tracks here from the Mick Taylor era. It's a blast of twitchy early rock, with a rollicking beat and some crisp Richards-Taylor guitar flash. Previously available as the B-side of the UK "Brown Sugar" single, the band has played this only rarely; it turned up occasionally on the 1978 U.S. tour.
14. HARLEM SHUFFLE (NY MIX)
When this slinky old R&B song, a hit for the duo Bob & Earl in 1969, was released as a single from 1986's Dirty Work, it marked the first time the Stones had issued a cover as a single since 1964's take on the Valentinos' "It's All over Now." This is one of two extended remixes released on 12-inch at the time, the other is subtitled "London"), and it's a showcase for the campy, pitch-bending uptown soul of the backing chorale, which includes Tom Waits, Patti Scialfa and Bobby Womack.
15. MANNISH BOY (LIVE)
The blues have often served as a kind of studio warm-up for the Rolling Stones. "That would be one of the ways of just getting the oil going," Richards explains. "And sometimes they turn into [something] and you say, 'OK, cut it,' and it's really off the cuff." The band has, over the years, used blues classics for the same purpose in concert: This version of the Muddy Waters standard was recorded at Toronto's El Macambo club in 1977, and appeared on both Love You Live and Sucking in the Seventies. Watts says that some of his favorite moments have come from these impromptu sessions. "When Keith plays a riff just to warm up, we'll immediately play a Chicago blues or something like that. There is no other way to make them work than to play like someone in Chicago in 1950."
16. THRU AND THRU (LIVE)
This gruff Keith Richards-sung rocker, originally on Voodoo Lounge, is the rare Stones song to have a second life on television: It was prominently featured in the concluding episode of the second season of the HBO gangster series The Sopranos. This recording comes from a January 2003 Madison Square Garden performance captured on the Four Flicks DVD.

2john lee hooker:

>4. BEAST OF BURDEN (LIVE)
>Recorded at a Los Angeles show in 1981 (and only
>available as a B-side to "Going to a Go-Go"
>and on the Sucking in the Seventies compilation)

Тут одним глазом глянул, и кажется напутано тут.
На "Sucking in the Seventies" - "BEAST OF BURDEN" студийная, правда немного не такая как на "Some Girls"

2Alex GB:

>2john lee hooker:
>>4. BEAST OF BURDEN (LIVE)
>>Recorded at a Los Angeles show in 1981 (and
>only
>>available as a B-side to "Going to a Go-Go"
>>and on the Sucking in the Seventies compilation)
>Тут одним глазом глянул, и кажется напутано тут.
>На "Sucking in the Seventies" - "BEAST OF BURDEN"
>студийная, правда немного не такая как на "Some Girls"

ага :-)
Зато забавно склеили из двух разных версий "Шешь-бешь" ("Tumblin' Dice") :-)

2john lee hooker

А письма-то доходят вообще?

"Мисс Ю" (Дэнс вершн) несколько отличаецца от 12'' лонг вершн. В "Редкостях" чуть короче (7:33)