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Post New Stones Album Info Here: (Read 37,827 times)
The Wick
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Re: Post New Stones Album Info Here:
Reply #375 - Nov 8th, 2016 at 11:48am
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This is what we have been waiting for for ages. This album is going to be right up there with their best. What I love about this album is that it is all about Mick and Charlie. Both sound unbelievable.
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Re: Post New Stones Album Info Here:
Reply #376 - Nov 8th, 2016 at 3:52pm
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The Wick wrote on Nov 8th, 2016 at 11:48am:
This is what we have been waiting for for ages. This album is going to be right up there with their best. What I love about this album is that it is all about Mick and Charlie. Both sound unbelievable.


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Re: Post New Stones Album Info Here:
Reply #377 - Nov 8th, 2016 at 4:21pm
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At least the video will buzz the album a little bit on youtube.
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Re: Post New Stones Album Info Here:
Reply #378 - Nov 8th, 2016 at 7:44pm
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TREMENDOUS. This album will be an instant party. Just add some booze and a wide open area to dance about.
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Re: Post New Stones Album Info Here:
Reply #379 - Nov 8th, 2016 at 8:29pm
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Reply #380 - Nov 10th, 2016 at 1:24am
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http://www.nytimes.com/2016/11/13/arts/music/the-rolling-stones-blue-and-lonesom...

Beverly Hills, Calif. — More than five decades after they started, the Rolling Stones are a rock institution still running on intuition, impulse and chemistry. “Blue & Lonesome,” their new album, arrived as a happy accident — or, as Keith Richards said with his piratical cackle, “as if we’d been ordered to do it from some higher being.”

It started as a break from their own material, then suddenly turned into a full-scale throwback: the Stones returning to their early-1960s days as a blues-loving cover band, knocking out songs live in the studio and recording an entire album in three days. “Blue & Lonesome” is the first studio album the Stones have made since “A Bigger Bang” in 2005; it’s due for release on Dec. 2.

Talking about it put smiles on band members’ faces in an afternoon-long string of interviews last month at the Four Seasons Hotel in Beverly Hills, a few days after the band’s jubilant set at the first weekend of the Desert Trip festival in Indio, Calif. “This album,” said the drummer, Charlie Watts, “is what I’ve always wanted the Stones to do. It’s what we do best and what we did when we first got together.”

In conversation, they play long-established roles: Mr. Watts as self-effacing and supportive, the guitarist Ronnie Wood still treating himself as a new band member (he joined in 1975), Mr. Richards as the happy-go-lucky roots music fan and Mick Jagger as the extrovert and detail-watcher.

“Blue & Lonesome” is not the batch of new Jagger-Richards songs that the band has been laboring over intermittently for years between bursts of touring, like the Latin American tour that concluded with an unprecedented concert in Havana and that has been the subject of two documentaries: “Olé Olé Olé” and “Havana Moon.” In recent years, the band has tried to follow up on touring momentum with recording sessions. But the new songs, Mr. Jagger said with a frown, currently add up to “half an album.”

Mr. Wood said new songs need time to settle in. “It’s like putting it on top of the strainer and seeing what soaks through by the time you come back to them again,” he explained. “The lumps that are left on top after time has gone by, that’s what you make your dough out of.” He added, “It wouldn’t surprise me if we recut them all again. It’s one of those things.”

Instead, “Blue & Lonesome” is a set of a dozen blues songs that were originally recorded, mostly in the mid-1950s, by titans like Howlin’ Wolf, Little Walter and Jimmy Reed. It was the breakthrough era of electric Chicago blues: a modernized, urbanized, amplified update of music from the Deep South. “These guys were basically inventing,” Mr. Richards said. “They had nothing to fall back on. They’d got these new guitars and amplifiers. They were all feeling their way through it. So there’s a feeling about that particular period of the blues which we could identify with, because you could hear the guys egging each other on and wondering where it’s going to go.”

The style was barely a decade old when it changed the lives of the English teenagers who would become the Rolling Stones, along with a generation of musicians worldwide. The rest is rock history, as the blues has been transplanted, revamped, venerated, repeatedly rediscovered and sometimes plundered, with its ideas ricocheting across cultural and geographical divides long before the more recent discussions about cultural appropriation. The blues became one of the foundations of rock, though its influence has been waning in recent decades.

“Sounds have changed,” Mr. Jagger said. “What makes you excited now is not the same. In music, everything’s different. But the blues still have something about them that’s really good. I love all kinds of music, and I still listen to the blues.” The songs for “Blue & Lonesome” were all on his iPod.

Half a century on, playing vintage blues songs is an act of preservation and reclamation — and for the Rolling Stones, who have always been careful to credit their sources, a matter of continuity. “We’ve known these songs for 50 years,” Mr. Jagger said. “It is a learned idiom. It’s like me singing in Italian. If I’d been doing that for 50 years, you wouldn’t ask me, ‘How do you feel about singing in Italian?’ I don’t feel anything about singing in Italian, I always sang in Italian.’ It works most of the time. It’s like, you just have to go with it and suspend disbelief.

“To me it’s a homage to all those people that we’ve always loved since we were kids,” he added. “I can see why people might find it vaguely not correct, but we’ve always done it. And the artists themselves, they never objected.”

“Blue & Lonesome” was recorded nearly a year ago, on the spur of the moment. While planning for recording sessions, Mr. Richards recalled, he emailed Mr. Wood, urging him to learn “Blue and Lonesome” by the Louisiana-born singer and harmonica player Little Walter.

“If Keith says something like that, there’s a reason for it,” said Don Was, the Stones’ longtime co-producer. “I don’t think he meant, ‘Go do this because we’re going to do a blues album.’ More like, ‘Let’s apply the principles of “Blue and Lonesome” to what we’re doing here.’”

The sessions took place in December at British Grove Studios, a West London complex owned by Mark Knopfler of Dire Straits. There, the Stones were recording together in a large open room with a setup generally used to record classical music: a tall, three-armed contraption called a Decca tree, which uses overhead microphones to capture what a conductor hears. (The tree was devised at Decca Records, the Stones’ first label; British Grove also has a vintage Decca mixing console, Mr. Was said.) It was a deliberately old-fashioned configuration: not layering isolated instruments, but demanding an all-or-nothing live approach.

The band was “a little unsure of the studio and the sound of it,” Mr. Richards recalled. So it fell back on the blues. “I looked at Ronnie and said, ‘Let’s put a hold on this new stuff while we try and figure things out and get the room warmed up. O.K.: ‘Blue and Lonesome.’

“And it comes out that suddenly the room’s opened up and the sound is there,” Mr. Richards continued. “And then, ‘That was damned good, man!’ Mick turns around and says, ‘Let’s do Howlin’ Wolf’s “Commit a Crime”’ — and it really just led from there. No preplanning, no real instigation. Suddenly Mick just jumped on this train that he’s so good at.”

Mr. Richards recalled thinking: “Keep rolling, keep rolling! I don’t care how many you do — just catch it while the man’s in the mood.” He laughed. “It just bloody happened. That was the amazing thing and the beauty of it,” he said.

At the end of the first session, the Stones had recorded five songs. “No one said, ‘We should do a blues album,’” Mr. Was said. “It’s like, when a guy’s throwing a no-hitter, you don’t talk to him about it in the middle of the game.”

Still, Mr. Was suggested that Mr. Jagger choose more songs; band members who didn’t know them learned them over a weekend. With further serendipity, Eric Clapton was also at British Grove, doing some mixing, and in the next session he ended up sitting in on two songs, joining the improvisational weave of guitars.

Mr. Richards was happy to, as he said, “Just roll it, decide later what to do with it,” he said. “It was only at the end, when we’d got 12 tracks and Don Was and I were talking together, and Mick was there and he was saying, ‘This is an album. You can’t chop this up.’”

Mr. Wood recalled, “I got a text from Mick saying, ‘The blues tracks are really sounding good.’ And I thought, is this from the Jagger that I know? Because he never, never says that things are happening well.”

Mr. Jagger described the album as “an exercise in sprezzatura” — a term for hiding skillful effort behind seeming nonchalance. “You’ve got to concentrate, but it can’t sound like it’s difficult. And it doesn’t,” he said.

The Stones tucked lifelong blues scholarship behind the kick and yowl of the music. As they delved into individual songs, the band praised the little-known studio musicians who forged the Chicago sound: guitarists like Howlin’ Wolf’s sideman Hubert Sumlin (with whom Mr. Richards shared regular jam sessions) and drummers like Freddy Below and Earl Phillips. “When I was doing my song choices, I was thinking about tempos, moods, keys, different emotions,” Mr. Jagger said. But feel came first. “They’ve still got to blow you away a bit. They’ve still got to be exciting.”

The songs on “Blue & Lonesome” are, deliberately, deep-catalog choices rather than blues-bar war horses. The Jimmy Reed song, for instance, isn’t “Big Boss Man” but the spooky, echoey, melancholy “Little Rain.” From Howlin’ Wolf, Mr. Jagger chose two tales of fierce, comic romantic strife and churning rhythm: “Just Like I Treat You” and “Commit a Crime.” Little Walter’s songs — there are four on the album — fell naturally into Mr. Jagger’s vocal range and gave him a chance to play lots of harmonica.

Many of the songs elude the regularity of 12-bar blues; they add or skip beats, start vocals in unexpected places, lurch and leap. Latter-day blues-rockers have often flattened out those quirks, but the Stones maintain them. “It’s not like rock music or programmed drum music,” Mr. Jagger said. “It pulsates in a very weird way, where each bar is different. And that’s what’s interesting about this kind of music when it’s played properly. It has a swerve, and it has a dynamism about it.”

Mr. Jagger also noted that while the songs were recorded almost entirely in real time, the final mixes were painstaking. “I just looked back at the original records, and we wanted some of these moods,” he said. “Every track is different. We all thought it was going to be easy but it wasn’t.”

Still, after more than a decade between albums, “Blue & Lonesome” may have loosened up the Stones for their own new songs. Sessions for the next studio album are still in progress. “We did things after we’d done this and I’d say, ‘O.K., just play it! It’s only got three chords, just play it, stop thinking about it,’” Mr. Jagger said. “‘Just imagine this is a blues.’”
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Re: Post New Stones Album Info Here:
Reply #381 - Nov 10th, 2016 at 10:14am
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Mick Jagger Says the Rolling Stones Have ‘Half an Album’ of New Material



By Jeff Giles November 10, 2016 8:49 AM



Before it evolved into the blues covers set Blue and Lonesome, the Rolling Stones‘ next studio album was supposed to contain new original material. What’s going on with that project, and when will fans be able to hear it?

As the band explained in a new profile piece in The New York Times, the record took a turn when they showed up at Mark Knopfler‘s British Grove Studios. The room they’d booked was outfitted with a Decca tree — basically a tall overhead mic array — and it prompted some conversation about how to best record the new material from an engineering standpoint.

While things were hashed out on the technical front, Keith Richards decided to stay busy by working up a cover of Little Walter’s “Blue and Lonesome” — a song he’d earlier told guitarist Ron Wood to learn as a reference point for what he was hoping to get out of the new material. Describing the band as “a little unsure of the studio and the sound of it,” Richards recalled, “I looked at Ronnie and said, ‘Let’s put a hold on this new stuff while we try and figure things out and get the room warmed up. Okay.: ‘Blue and Lonesome.’”

That impulsive decision inspired singer Mick Jagger, who called up a Howlin’ Wolf song as their next number, and by the end of the day, they had five tracks committed to tape. The end result is a record drummer Charlie Watts describes as “what I’ve always wanted the Stones to do” — but it begs the question of when the band might get around to finishing those new originals.

The answer, it seems, won’t be revealed anytime soon. Jagger told the NYT that they only have “half an album” of material — and Wood hinted that those songs may need quite a bit of time in the studio before they see release.

“It’s like putting it on top of the strainer and seeing what soaks through by the time you come back to them again,” said Wood. “The lumps that are left on top after time has gone by, that’s what you make your dough out of. It wouldn’t surprise me if we recut them all again. It’s one of those things.”


Read More: Mick Jagger Says the Rolling Stones Have 'Half an Album' of New Material | http://ultimateclassicrock.com/rolling-stones-new-material/?trackback=tsmclip
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“What rap did that was impressive was to show there are so many tone-deaf people out there,” he says. “All they need is a drum beat and somebody yelling over it and they’re happy. There’s an enormous market for people who can’t tell one note from another.” - Keef
 
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Re: Post New Stones Album Info Here:
Reply #382 - Nov 16th, 2016 at 7:05am
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The Stones are discussing more shows next year, and they really do intend to work on that album of originals. "There's about 10 or 12 new songs that Mick actually has been cooking up," says Wood, "and Keith's got the odd one, too." Richards suggests that at least some of the songs might be unfinished compositions that date back 15 years or more.










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Re: Post New Stones Album Info Here:
Reply #383 - Nov 16th, 2016 at 6:48pm
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The Rolling Stones' New Blues: Inside Their Roots Revival, Bright Future
Why iconic band took just three days to make 'Blue & Lonesome,' its first album in 11 years


By Brian Hiatt
10 hours ago
September 1965. Charlie Watts steps to a microphone in a smart sport jacket, introducing "one of our favorite numbers" to a packed Dublin theater. The 24-year-old drummer heads back to his modest kit, and the Rolling Stones tumble into Howlin' Wolf's "Little Red Rooster," Keith Richards' duh-dunt-dah-duh riff battling Brian Jones' spiky slide-guitar runs. And a thousand Irish teenage girls greet each Chess Records guitar stab with crescendoing, this-song-is-so-fab shrieks. (Later, the audience will embark on an actual riot, storming the stage, which just makes it a typical Stones tour stop.)

Ten months earlier, the band had somehow managed to push that raw take on 12-bar Chicago blues atop the U.K. singles chart (though U.S. radio refused to play it, suspecting that the lyrics' prowling rooster was not, in fact, a bird). "Little Red Rooster" is apparently still the only traditional blues ever to hit Number One in the U.K. "It's crackers," Mick Jagger says five decades later, on a late-October day in Manhattan, pondering that achievement, recalling those screams. He laughs. "You know, it's crazy. I mean, that was a weirdo thing, 'cause we could've done anything at that time and it would've been Number One. That was the point." He's wearing a white button-front shirt with a subtle blue pattern and teensy black trousers that are probably the same waist size as his checkered pants on that Irish stage 51 years back. He looks his age, sort of, except not at all.


As with all the Stones' early blues recordings, Jagger says that "Red Rooster" was done "out of love." "We were kids," he says, "and we were proselytizing. The Beatles, to some extent, did the same – they talked about the music they loved, which was always, like, soul music." The Stones' music was rooted more firmly in their influences, however, and they went further in honoring them. In May of '65, they strong-armed the U.S. teen TV show Shindig! into hosting Howlin' Wolf himself, with the Stones sitting at the besuited, six-foot-three, 275-pound 55-year-old's feet as he bellowed "How Many More Years," jumping in place and eliciting some improbable adolescent shrieks in his own right. "When those blues records came out," says Jagger, "they were, in a sense, for their audience, pop music. They would play it like we would play Kendrick Lamar. To me, take away the genres for a minute and it's all pop music."

Now, the Stones have circled back to the blues, with Blue & Lonesome, a (mostly) live-in-the-studio collection of 12 songs originally performed by the likes of Little Walter, Jimmy Reed and, again, Howlin' Wolf. It's the first Stones album to have zero Jagger-Richards originals; even their debut had a couple of attempts at songwriting. Recording Blue & Lonesome was easy – it took all of three days. "It made itself," says Richards. As Ronnie Wood points out, however, it's also the product of "a lifetime's research, really."

Figuring out when and how to release it was trickier. "I'm saying to the record company," says Jagger, "'Can you make this pop music if you want? Is it marketable?'" The album came out of sessions that were supposed to be for an LP of Stones originals, still in its early stages. Jagger wondered whether they should wait to get that one finished, maybe release them together.

But then again, the last time the Stones managed to finish a studio album was back in 2005, with A Bigger Bang. "The record company probably said, 'Well, the other one's never gonna come,'" Jagger says, twisting those lips of his into an outsize grin. " 'We might as well put this one out.' I don't blame 'em. I probably would have done the same thing. 'Cause, 'Now I got something, might as well put it out.'"


The freakiest thing about Blue & Lonesome is the extent to which Jagger and Richards agree on it. The two men, currently in their fourth year of détente after some caustic bits in Richards' autobiography nearly derailed a 50th-anniversary reunion, are both genuinely excited about the roots revival. The project might, from the outside, seem more like a Richards thing, the kind of retro move he'd favor, while the Jagger of fans' imaginations would be busy pushing the Stones to work with, say, the Chainsmokers. The frontman says the stereotype isn't all wrong, but that in this case, "we were all equally into it. I was as into it as anyone."

"This is the best record Mick Jagger has ever made," says Richards, always a fan of Jagger's emotive harmonica playing, which flourishes on the new LP. "It was just watching the guy enjoying doing what he really can do better than anybody else." He pauses. "And also, the band ain't too shabby."

Even after their early flurry of covers subsided, the Stones never stopped playing old blues tunes, both onstage and, especially, in rehearsals. The 200 hours of Exile on Main Street sessions, for instance, were punctuated by repeated attempts at covers, meant to clear the air between the midwifing of new songs. Two of them – Slim Harpo's "Shake Your Hips" and Robert Johnson's "Stop Breakin' Down Blues" – made the 1972 album. ("It's like ginger at a sushi restaurant," says Blue & Lonesome co-producer Don Was. "You cleanse the palate.")

In 1968, Jagger told Rolling Stone that the band had always intended to move beyond the blues. "What's the point in listening to us doing 'I'm a King Bee,'" he said, "when you can hear Slim Harpo do it?" But at their best, the Stones weren't merely mimicking their inspirations. They weren't purists, except maybe for Jones; blues fans looked askance at them for playing Chuck Berry tunes at their early gigs. Among early-Sixties R&B hipsters in London, "it was always that sort of reverse psychology," says Richards. "Anybody who had a hit record was a piece of shit."

"You were kind of forced into a purist style because you wouldn't get booked if you were a rock band," Jagger recalls. "So we made out we were blues purists to get booked. The reality is, in rehearsal we would play anything – Ritchie Valens and Buddy Holly."

That irreverence made their take on the blues matter. Their frantic, hand-clappy 1964 version of Muddy Waters' "I Just Want to Make Love to You" owed a lot of its approach to Bo Diddley, a fresh mixture that helped birth garage rock. The Stones didn't get the "Red Rooster" riff right, either, playing it more like Muddy Waters' "Mannish Boy," while also drawing from Sam Cooke's sleek 1963 soul version. (Eric Clapton recalled Howlin' Wolf taking pains to teach him the original version when they rerecorded it for 1971's The London Howlin' Wolf Sessions, with the older man telling him, "It doesn't go like anything you think it goes like.")
And in 2016, Jagger is finally ready to concede that the Rolling Stones have something to add to this music. "The thing about the blues," he says, "is it changes in very small increments. People reinterpret what they know – Elmore James reinterpreted Robert Johnson licks, as did Muddy Waters. So I'm not saying we're making the jumps that they made, but we can't help but reinterpret these songs."

This past December, the Rolling Stones gathered in Mark Knopfler's British Grove Studios in West London to begin work on a batch of original songs. Jagger is deliberately vague on the nature of those tunes. "I hope it's gonna be a very eclectic album," he says. "I hope some of it's gonna be recognizable Stones and some of it's gonna be some Stones you never heard before, maybe."

Knopfler's studio is gorgeous, equipped with an ideal mix of vintage and modern equipment, with high ceilings and gleaming blond-wood floors. It was also a totally alien environment for the Stones. "I know the Rolling Stones," says Richards. "I know that recording new music in a room they're not familiar with, there's sometimes going to be weeks before the room breaks in." So Richards told fellow Stones guitarist Ronnie Wood to learn Little Walter's apocalyptically mournful 1965 B side "Blue and Lonesome" as a potential icebreaker (Wood remembers this suggestion coming in by fax, well before the sessions).

By the second day at British Grove, Richards felt his prediction coming true. "The room is fighting me," he recalls thinking. "It's fighting the band. The sound is not coming." He suggested "Blue and Lonesome," Jagger dug up a harmonica in the right key, and the band barreled through two quick takes. "Suddenly," says Richards, "the room is obeying and there's something happening – a sound is happening and it was so good."

One of those two takes ended up on the album, and it's extraordinary, with Wood playing frantic lead; Richards hitting huge, doom-y chords; Watts nailing the original track's regally restrained drum part; and Jagger digging deep on his harp when he's not delivering one of the least-mannered vocals of his career. "Baby, please, come back to me," he pleads. Afterward, Jagger – who says he had already been pondering a Stones blues album – surprised everyone by calling for more covers. That night, he went to his MP3 collection, returning the next day with more song ideas.

And in keeping with the serendipity of the endeavor, a special guest showed up. On the first day, Eric Clapton happened to be mixing an album of his own at British Grove when he poked his head into the Stones' live room. The guitarist, who had seen the Stones playing blues gigs when he was still in his teens, was taken aback. "Eric walked in, and he had the same reaction that any fan would have," says Was. "He was just gobsmacked at being that close to something that iconic and powerful. There was this great look on his face." They asked Clapton to jam on two songs, and he ended up picking up one of Richards' guitars, a semihollow Gibson, instead of the Strats he's mostly played post-1970 – which helped him reclaim the fat tone of his Bluesbreakers days: You can hear the band applauding him at the end of "I Can't Quit You Baby."

It all happened so quickly and naturally that the band never really discussed what it was doing, or even acknowledged it was making an album. "I didn't even have time to change my guitar," says Wood. "They were coming so thick and fast. It was like, 'OK, let's do it – this one, that one.' Some of the harder riffs were making my fingers bleed, and Mick was going, 'Come, let's do it again, then!' And we'll go, 'Hang on! My fingers!' It was real hard work, but I love it."

For Jagger, it was a chance to indulge his blues-harp habit, a subject that arouses an incongruously geeky enthusiasm in him. "If I had known I was gonna have to do this," he says, "I would have spent a few days practicing, because sometimes I do that, sit at home and play. It's quite easy, really; I mean, you just put on whatever, a whole bunch of Muddy Waters records." (Muddy "Mississippi" Waters – Live, a 1979 LP featuring Johnny Winter, is one of Jagger's favorites for this purpose.)

Jagger's vocals are also striking in their authority. The camp he once brought to the genre is gone, replaced by something darker and deeper, perhaps reflecting the weight of real-life losses. "You can put yourselves inside the songs as a 70-year-old," says Was, "in a way that you couldn't when you were 21, because you hadn't experienced the stuff."

"On some of these, I sound quite old," Jagger counters, "and on some of them, I don't. Some of it sounds like when I was in my twenties doing this stuff. I didn't really mean it to sound like that. I was supposed to be more mature!"


While Muddy Waters was in England in 1966, a journalist asked the then-53-year-old bluesman what he thought about Jagger and the Stones. "He took my music," Waters reportedly said, "but he gave me my name." Technically speaking, of course, Waters gave the Stones their name, via his 1950 single "Rollin' Stone," but he was speaking metaphorically: He likely wouldn't have been playing a big show in London in the first place if not for the Stones.

The Stones never questioned their right to sing and play the blues. What is now considered by some to be cultural appropriation is hardly a sin in their minds, then or now. "I don't think we thought about that," says Jagger, before launching into a lengthy, learned riff on the early days of jazz, when white musicians like Bix Beiderbecke were quickly assimilated into the genre, but "the complaints were really on the fact – and you could level a lot of people with it – that the white people made more money."

Richards has his own answer to the issue. "I'm black as the ace of fucking spades, man," he says, deadpan. "Ask any of the brothers." He continues, "I didn't know what color these people were, as a kid. I don't think of blues as being of any particular color at all. Obviously, its history. But there were white slaves, as well. There have been plenty of work songs from way back. Try Egypt. Quite Jewish, actually. You know, people have been doing this since history began."

In the end, Jagger asks rhetorically, "Has it hurt the music, this influx of foreigners and people from outside of the blues tradition, or has it helped the music? The performers that I spoke to, Muddy Waters, Howlin' Wolf, when they were alive, they thought it had helped. There is an exchange."

Occasional Stones jam partner and Chicago-blues standard-bearer Buddy Guy agrees. "They did so much for all the blues people, especially the black people," Guy says. "They were putting the music where we never had put it before, and they just let the world know who we were. They didn't just come in and say, 'Well, this is new.'"

Even before the Stones, the Chicago bluesmen were supportive of white players – Muddy Waters mentored the harp player Paul Butterfield in the Fifties, for instance. And the Stones grew close to the Chess Records crew, beginning with their pilgrimage to the label's headquarters in 1964, where they were befriended by Waters. (Richards has long maintained that Waters was painting the ceiling when they showed up, which Marshall Chess has denied – but the guitarist is still positive this happened: "Why would I bother to make it up?")

"Muddy made you feel like you were really part of it," says Richards. "He sort of brought you in. And Howlin' Wolf was very much the same. There was none of 'Well, I didn't know white guys could play like that.' We connected, and they were not particularly impressed about what color you happen to turn out to be or whatever. Of course, Muddy and the other guys did recognize that for some reason, the Stones had brought this music back to America and repopularized it. Or not so much popularized it, just brought it to attention again. And for that, I'm eternally proud, and that's probably the only way I'm going to get in heaven." He lets out a long, strangled laugh.

Unlike many blues guitarists, Richards never had much interest in being a lead-playing gunslinger. He was more fascinated by ensemble players like the Myers brothers, who backed Little Walter. "The idea was to make the fucking band slam together," he says. "A quick, short, sharp solo here, boom, great. Otherwise, to me, the fascination has always been that four or five guys can create a sound that sounds a lot larger than the actual number of members actually involved."

Richards is convinced that rock lost its groove, its "roll," distancing itself from its African-American influences, with the advent of the electric bass some 60 years ago. "By the middle Sixties," he says, "you have the worst guitar player in the band playing bass. So he goes plunk-plunk-plunk, and that's a very European thing."

While he's at it, he shares another opinion: "I mean, Jimi Hendrix," Richards says. "Love him dearly. Incredible. He ruined guitar. That whistling saw sound. That's what they say about Coltrane with saxophones. Fantastic player. Unfortunately, he ruined the instrument, because after that everybody growled through it."

In October, as the Stones stepped onto the Desert Trip stage in Indio, California, some thoughts crossed Mick Jagger's mind. "It was 30 meters wider than our normal stage," says Jagger, "which is quite wide, by the way, which I usually run. And I heard that nobody else went out there, apart from me. So what the fuck did they build the stage for?
"Was that just for me? And I was just thinking, 'How long can I fucking do this? How long can I run the hundred-meter stage?' I don't know the answer to that. I mean, as long as I can. And then should I stop performing when I can't run the hundred-meter stage, is that it? Does that mean I have to stop? No one else is using the hundred-meter stage!"

As early as 1986, Richards was suggesting that Jagger simply stand in front of the mic and sing, an idea that sends Jagger's eyes skyward. "That's good advice, Keith," he says, with caustic sarcasm. "Thanks so much. It's very useful. He should stop playing the guitar. I mean, come on! There is some other option besides 'Are you gonna run the hundred meters or are you gonna sit?' You can still move a bit in the middle!"

Though Jagger blames the dusty field for a recent bout of laryngitis – and he originally questioned the idea of a festival of "old, over-70 white English people playing all the same music" – the band had a good time at Desert Trip, treating it as a sort of boomer-rock class reunion. They were all particularly happy to see just-anointed Nobel Prize winner Bob Dylan, who brought onesies for Wood's now-six-month-old twin girls. Wood and Watts asked Dylan how he felt about his honor. "He said, 'I don't know,' " recalls Wood. "'How should I feel? Is it good?' I said, 'You're kidding. We really think it's great and you deserve it.' And Dylan said, 'Do I?'"

Richards is in his manager's SoHo offices, slumped majestically on a brown couch beneath a vintage Stones tour poster. On his feet are the same bright-red Nikes Dylan noticed when the two hung out at Desert Trip: "Nice kicks," Dylan said, to which Richards replied, "I thought you'd never notice."

Richards is wearing a gray overcoat, snug jeans and a T-shirt that reads "Do Not X-Ray." There's a Rasta-style rainbow headband on his forehead and a lit Marlboro in his hand. For the first time in his adult life, Richards has lost his skeletal gauntness. His face is fuller. He looks almost  . . .  healthy. His 2006 head injury meant "goodbye to cocaine," he says. "I was actually fed up with the stuff. I was in a habit." After quitting, he says, "you make up for all the lost meals and all the lost sleep." While Wood has been sober since 2010, and even quit cigarettes for the birth of his daughters, Richards hasn't taken it that far. "I like a drink now and again," he says. "And I do like a nice piece of hash. Or weed. I hear weed is legal!"

He and Jagger do seem to have found some genuine peace. "I love the man," says Richards. "That doesn't mean I can't get pissed off occasionally, and I have no doubt it goes the other way around. But you have to forgive and forget, and also I would say that 89 percent of the time we're in total agreement. But people only hear about the 11 percent, you know, where it flares up. What would the Stones be without it? If you had the perfect machine and everybody in total agreement, you'd probably be fairly bland.  . . .  It's amazing we're both alive. I celebrate Mick's life. He's always five months older than me!"

In his book, Richards complained that he hadn't been in Jagger's dressing room for decades. That hasn't changed, but the guitarist doesn't care. "The fact is, Mick and I really don't want to hang together before we go onstage," he says. "He has a routine of how he gets together for the stage. Me, I have a party."

The Stones are discussing more shows next year, and they really do intend to work on that album of originals. "There's about 10 or 12 new songs that Mick actually has been cooking up," says Wood, "and Keith's got the odd one, too." Richards suggests that at least some of the songs might be unfinished compositions that date back 15 years or more.

They'll all be in New York soon for the opening of Exhibitionism, an elaborate, immersive pop-up Stones museum that includes a reproduction of the squalid apartment shared by Jagger, Richards and Jones circa 1963, and collectibles including the cassette recorder Richards used to demo "(I Can't Get No) Satisfaction." While they're in town, Richards is trying to persuade them to do some recording, which may be a stretch. Jagger is positive they'll finish that album, "but I don't know when, because you want it to be really good and everything."

They all share an almost scientific curiosity about their future as a rock band plunging through its sixth decade. Again, how long can this go on? "I think we're as interested to find out as anybody else," says Richards. "But, man, I just got offstage a week ago and we were playing 'Brown Sugar,' and I turned to Charlie Watts and said, 'This time we got it right.'"

At 75, Watts is the oldest band member, and also happens to have the most physically demanding job. Understandably, he struggles with back pain, according to Wood. It's unclear what the Rolling Stones would do without him, and that's a prospect Richards refuses to contemplate. "Charlie Watts will never die or retire," Richards says. "I forbid him to."
Jagger doesn't seem eager to contemplate his own mortality, at least in interviews. But if you remind him that he's convinced everyone he'll live forever, he'll shoot back without a pause: "I'm not going to."

Richards knows exactly how he'd like to go, and he's sure that doctors will want to have "a good look at the liver" when he does. "I'd like to croak magnificently," he says, savoring the prospect. "Onstage."


http://www.rollingstone.com/music/features/inside-the-rolling-stones-new-album-b...

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Re: Post New Stones Album Info Here:
Reply #384 - Nov 16th, 2016 at 7:03pm
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So basically the new album of original songs is nowhere near finished, they're hopeful it will see the light of day sometime, its pretty much all Mick compositions and they might have to dig out stuff from around the 'Licks' sessions from 2002 to pad it out.

Ah well.
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Re: Post New Stones Album Info Here:
Reply #385 - Nov 16th, 2016 at 7:25pm
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Gazza wrote on Nov 16th, 2016 at 7:03pm:
So basically the new album of original songs is nowhere near finished, they're hopeful it will see the light of day sometime, its pretty much all Mick compositions and they might have to dig out stuff from around the 'Licks' sessions from 2002 to pad it out.

Ah well.


Get Keith more involved or forgettaboutit.  Are you fucking serious?
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“What rap did that was impressive was to show there are so many tone-deaf people out there,” he says. “All they need is a drum beat and somebody yelling over it and they’re happy. There’s an enormous market for people who can’t tell one note from another.” - Keef
 
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Re: Post New Stones Album Info Here:
Reply #386 - Nov 16th, 2016 at 8:51pm
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Ian Billen wrote on May 9th, 2016 at 6:47pm:
Folks .. this 'album of blues covers' was all hear-say. Ronnie simply said they recorded a bunch of old blues songs...(along with some new Rolling Stones cuts)  and that the stuff was sounding great. Nothing more.

The December session was simply to get their feet planted and start things rolling studio wise and as a.... 'start'... on working on an album .. that's all it was. It was almost a warm up .. and to work on a hand full of demos brought in ...but they got a healthy dose of new material out of the session just as well. Seems as if they are taking this slow .. and not rushing anything this time (thankfully). They are working on this album in segments  .. that's all. The blues covers was just in warming up and starting things off in there.. that's all.


I am certain we are not getting an album of mostly blues covers. It is a new Rolling Stones album. 







Any news Ian?

Ouch! really? Wow!
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Re: Post New Stones Album Info Here:
Reply #387 - Nov 17th, 2016 at 6:52am
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Quote:
Mr. Jagger said. But feel came first. “They’ve still got to blow you away a bit. They’ve still got to be exciting.


This is what THE ROLLING STONES are all about. IMHO

Merry Christmas 12/2/2016

GR8 Reads!

Quote:
Jagger is positive they'll finish that album, "but I don't know when, because you want it to be really good and everything."


Quote:
Keith Richards,.... 'This time we got it right.'"
LOL
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Re: Post New Stones Album Info Here:
Reply #388 - Nov 17th, 2016 at 6:43pm
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Edith Grove wrote on Nov 16th, 2016 at 7:25pm:
Gazza wrote on Nov 16th, 2016 at 7:03pm:
So basically the new album of original songs is nowhere near finished, they're hopeful it will see the light of day sometime, its pretty much all Mick compositions and they might have to dig out stuff from around the 'Licks' sessions from 2002 to pad it out.

Ah well.


Get Keith more involved or forgettaboutit.  Are you fucking serious?


After years of minimal contribution to records by a band who had been creatively inactive for a decade, Keith released a pretty decent solo album which took a couple of years to make and which included covers, an aimess doodle as an opening track and original material that dated back as far as 2002 or earlier.

I think its safe to say his cup of creativity doth not runneth over.
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Re: Post New Stones Album Info Here:
Reply #389 - Nov 17th, 2016 at 8:01pm
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Gazza wrote on Nov 17th, 2016 at 6:43pm:
Edith Grove wrote on Nov 16th, 2016 at 7:25pm:
Gazza wrote on Nov 16th, 2016 at 7:03pm:
So basically the new album of original songs is nowhere near finished, they're hopeful it will see the light of day sometime, its pretty much all Mick compositions and they might have to dig out stuff from around the 'Licks' sessions from 2002 to pad it out.

Ah well.


Get Keith more involved or forgettaboutit.  Are you fucking serious?


After years of minimal contribution to records by a band who had been creatively inactive for a decade, Keith released a pretty decent solo album which took a couple of years to make and which included covers, an aimess doodle as an opening track and original material that dated back as far as 2002 or earlier.

I think its safe to say his cup of creativity doth not runneth over.



.......then lock up Mick & Keith in the kitchen recreation of Edith Grove until they come up with something.

Fly Phelge over here (he's still alive ain't he?) and he can piss on them from the top of the stairs if they don't deliver.  stu-smiling
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“What rap did that was impressive was to show there are so many tone-deaf people out there,” he says. “All they need is a drum beat and somebody yelling over it and they’re happy. There’s an enormous market for people who can’t tell one note from another.” - Keef
 
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Re: Post New Stones Album Info Here:
Reply #390 - Nov 17th, 2016 at 8:20pm
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Some Guy wrote on Nov 16th, 2016 at 7:05am:
"There's about 10 or 12 new songs that Mick actually has been cooking up," says Wood, "and Keith's got the odd one, too.



Am I the only one who thinks that 10-12 songs is actually enough for a release??
This nonsense of trying to fill a 70+ min CD (cd?) is crap in this digital age. That was a model that forced groups to churn out too much filler and plain bad music.

Get back to an album concept and release it...download...or whatever...in other words...10-12 songs!!
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Re: Post New Stones Album Info Here:
Reply #391 - Nov 19th, 2016 at 7:07am
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Paranoid Android wrote on Nov 17th, 2016 at 8:20pm:
Some Guy wrote on Nov 16th, 2016 at 7:05am:
"There's about 10 or 12 new songs that Mick actually has been cooking up," says Wood, "and Keith's got the odd one, too.



Am I the only one who thinks that 10-12 songs is actually enough for a release??
This nonsense of trying to fill a 70+ min CD (cd?) is crap in this digital age. That was a model that forced groups to churn out too much filler and plain bad music.

Get back to an album concept and release it...download...or whatever...in other words...10-12 songs!!

12 songs is plenty to release for a CD. I don't know about 70 min. But somewhere between 45-60 would be enough.
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Re: Post New Stones Album Info Here:
Reply #392 - Nov 20th, 2016 at 12:18pm
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That seemed to be the norm by the early 90s when acts seemed to be under the impression that they had to fill a 70 (and later 80) minute CD instead of two sides of a 45-minute LP.

The Stones pandered to that with Voodoo Lounge, partly because they hadnt released an album for five years (no sniggering at the back) and because they did have a LOT of finished songs.  Bigger Bang was much the same.  On the face of it, it sounds nice to get 16/18 songs instead of 10/12 but it makes for uneven albums.  Trim the fat and you get a more satisfying release.

These days it seems that a lot of acts have realised that (as PA says above) that padding out CDs with filler only ends up turning potentially good albums into average albums.
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Re: Post New Stones Album Info Here:
Reply #393 - Nov 20th, 2016 at 2:19pm
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Gazza wrote on Nov 20th, 2016 at 12:18pm:
padding out CDs with filler only ends up turning potentially good albums into average albums.


Quite true...an AWESOME album of 10-12 decent+ songs turns into mush with the extra weight another 8 less than average songs add to the whole package...its tiring and burdensome to listen to IMO
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Re: Post New Stones Album Info Here:
Reply #394 - Nov 20th, 2016 at 4:58pm
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Paranoid Android wrote on Nov 20th, 2016 at 2:19pm:
Gazza wrote on Nov 20th, 2016 at 12:18pm:
padding out CDs with filler only ends up turning potentially good albums into average albums.


Quite true...an AWESOME album of 10-12 decent+ songs turns into mush with the extra weight another 8 less than average songs add to the whole package...its tiring and burdensome to listen to IMO


When you release a new album every 2-3 years, 15-18 songs it's too much, but when you release a new album every 8-12 (!!) years, it's not.
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Re: Post New Stones Album Info Here:
Reply #395 - Nov 20th, 2016 at 6:43pm
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A fair point

Well, you know the answer to that, then.

Just make more fucking records.

There are three songwriters in the band. All of them accomplished.

How difficult can it be to put out a dozen decent songs every two or three years?
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Re: Post New Stones Album Info Here:
Reply #396 - Nov 21st, 2016 at 4:00pm
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Gazza wrote on Nov 20th, 2016 at 6:43pm:
A fair point

Well, you know the answer to that, then.

Just make more fucking records.

There are three songwriters in the band. All of them accomplished.

How difficult can it be to put out a dozen decent songs every two or three years?


Nowadays you don't have to put out a dozen of songs: Foo Fighters' latest album had 8 songs, Bruno Mars' recent one has 9 songs, many albums from recent years are 32-36 minutes long with 8-11 songs on it.
Less songs and more albums is the way to go, they can even release a covers album every 1-2 years, sadly the whole 2000-2015 period was a waste of precious time for studio work, 15 years with 1 studio album, unforgettable mistake.
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Reply #397 - Nov 21st, 2016 at 7:21pm
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They've been doing mini-tours...why not release mini-LPs with each one ( they could just record them at one time)...it's basically what they did with D&G and the other one...and Don't Stop...
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Reply #398 - Nov 22nd, 2016 at 1:51pm
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Blue & Lonesome is the album any Rolling Stones fan would have wished for – review
(5-stars)

 

Neil McCormick, music critic
22 NOVEMBER 2016 • 12:19PM
The Rolling Stones have got the blues. I wonder what took them so long? This is the album any Stones fan could have wished for, on which the Glimmer Twins gleam again.

It is a swaggering, heartfelt blast of dense, deft blues rock, with Charlie Watts swinging on the back beat, Keith Richards spilling slippery chords and magic licks, and Mick Jagger wailing on the blues harp like the last lonely survivor of an apocalyptic flood on the Mississippi delta. Even Ronnie Wood keeps his end up, breaking out crusty riffs and sputtering leads that mesh and weave with Richards’s ever-shifting rhythm guitar, combining in a thick, pliable electric groove that is uniquely the Stones' own.

It is amazing they haven’t made this album before. Holed up in Mark Knopfler’s British Grove studios last December to start work on original material, they warmed up with an old blues cover and just kept going. Knocking out one old favourite after another, they recorded enough for a whole album in just three days.

It is the Stones's first album to completely comprise cover versions. Even their 1964 debut had a trio of originals (some credited to the pseudonymous Nanker Phelge because Jagger and Richards weren’t ready to call themselves songwriters). But this has to be viewed as an overdue act of love, not a retreat to safe harbours.

Being aficionados of the genre, choices are eclectic and immaculate, off the beaten path but straight down the blues line. They rip up Howling Wolf’s Commit A Crime, breathe steamy vigour into Memphis Slim’s Blue and Lonesome and play Magic Sam’s All Of Your Love as if they are down on their knees begging for one last chance at happiness.

There is no attempt to slavishly recreate original arrangements, the modus operandi seems to be to get the chord changes down and then play the damn thing for the sheer thrill of it. And it is a thrill because there are not many bands left who could actually do what they do in a modern studio: just set up, face each other and play with such connection and commitment that the record is essentially a performance so alive to the music it needs no adornment or improvement.

It would be wrong to say that Jagger is a revelation, because we all know what he can do, but it is a pleasure to hear him do it so well. Richards has always loved Jagger’s harmonica playing and here it is almost the featured item, with the singer taking everything he has learned from Little Walter, Howlin’ Wolf and Jimmy Reed and applying it with instinct and emotion. It is as if, unburdened by the self-consciousness that can inhabit his attempts to keep up with the kids, the frontman is free to just enjoy himself.

...


Jagger has never had a lovely voice, but his phrasing and delivery, his sheer commitment and bravery in going for notes he has absolutely no right to reach is perfectly glorious. He conjures up a dirty, growling old shaman on Otis Hicks's sleazy Hoo Doo Blues whilst on Buddy Johnson’s Just Your Fool, the 73-year-old singer sounds like exactly like the rocking young rooster of yore, only now he’s kicking it with a band of veteran’s utterly at ease and in charge of the material (ably supported in the studio by longstanding live touring members Darryl Jones on bass and Chuck Leavell on keyboards).

If you have seen the Stones on recent tours, you will know they are playing better than at any time since their Seventies glory. The truth is they have never really been outstanding virtuosos but they have the secret to locking tight as a unit and keeping things shifting.

This selection of covers allows them to just do what they do so well and not overthink it. That said, when Eric Clapton guests on two tracks (because he just happened to be mixing in the same studio complex), his nimble, sensitive playing really does switch things up a gear.



Their raw take on Little Johnny Taylor’s Everybody Knows About My Good Thing is sensational, while Clapton’s soloing on Willie Dixon’s I Can’t Quit You Baby ends with the band breaking out in spontaneous applause. Perennial new boy Ronnie Wood might be getting a bit nervous about job security. The Stones have shown they are not averse to changing the line-up, and he has only been with them 41 years.

Hopefully this will serve as a palette cleanser for the album of originals the Stones are still threatening to eventually deliver. But that would have to go some way to beat Blue And Lonesome for sheer pleasure. It may not be the kind of definitive album statement that will rock the music world to its foundations but it more than demonstrate that the world’s greatest and longest serving rock band have still got what it takes.

The Rolling Stones: Blue and Lonesome is out on December 2




http://www.telegraph.co.uk/music/what-to-listen-to/rolling-stonesblue-lonesome-r...
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Re: Post New Stones Album Info Here:
Reply #399 - Nov 22nd, 2016 at 7:56pm
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Good reviews so I'm excited for some "new" old material from our "boys" coming out next week! Can someone answer this please ~ is this digitally recorded, because I heard if it is the vinyl wont be worth buying, and, is this fact or fiction?
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