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12X5 / the Rolling Stones (No. 2)
12x5 and Rolling Stones No. 2 ALO Andrew Loog Oldham probably does not get the credit he deserves for forming the early and lasting image of the Stones as the bad boys of rock and roll. One of his primary vehicles for doing this was through the early album art produced for Rolling Stones albums. He invited controversy with his liner notes and he legitimized the Stones role in the Swinging London scene by having a well-established artist like David Bailey photograph the Stones for the second US and second UK releases. Oldham’s album covers set the Stones on the course of courting controversy over the years. In the early days it was his intentional design. It began with the record company and Oldham’s controversial insistence on leaving their first album nameless. It continued on their second UK release with Oldham’s screed on the back of the album. Every record tells a story and the album cover is an integral part of that story. That started in earnest with Rolling Stones No. 2. Putting a Stones album out was already complicated. And It Was About To Get More Complicated Things were getting complicated with Rolling Stones album releases on opposite sides of the Atlantic. In the UK the Stones first album was followed by the extended play (EP) 5X5, released August 14, 1964. The title was an obvious and unimaginative play on words, five tracks played by five band members. Notice no title or band name on the front of the cover. Oldham said, “5x5 was culled from the London, the US branch of Decca said EPs were not Chess sessions. -
Stone Alone: the Story of a Rock N Roll Band Free
FREE STONE ALONE: THE STORY OF A ROCK N ROLL BAND PDF Bill Wyman | 640 pages | 01 Sep 1997 | The Perseus Books Group | 9780306807831 | English | Cambridge, MA, United States Rock 'n Roll Wine | Travel + Leisure Lily Allen has been snapped wearing a gold ring set with a red stone on her wedding finger - setting off rumours she's engaged to boyfriend Ed Simons. The pictures came to light days after it was revealed that Lily is pregnant - which has also raised worries that her follow-up to debut album Alright, Now might be delayed. Lily's spokesperson has denied an engagement, and also Stone Alone: The Story of a Rock n Roll Band the CD will be released in as planned. But the recording is thought to be in the early stages, and it's feared it might not be finished by spring as planned while Lily deals with her pregnancy. Do you think two months into a relationship is too soon to be getting engaged? Share your thoughts in our chat room. Click here for more celeb gossip. Type keyword s to search. Today's Top Stories. One person is missing from Kim's birthday post. Kate Middleton wears the perfect autumn coat. Ashley Benson's now pumpkin spice hair is glorious. Kim Kardashian's most iconic moments of all time. This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano. Advertisement - Continue Reading Below. -
Their Satanic Majesties Request the Title Controversy Over a Rolling
Their Satanic Majesties Request The Title Controversy over a Rolling Stones album cover would not arrive in full bloom until their next LP, Beggars Banquet, with its graffiti ridden toilet cover that was suppressed for over a decade. The seeds of cover controversy were sown in the early stages of Their Satanic Majesties Requests, however. One story has it that the cover was to have been a shot of Mick Jagger in his jail cell after a drug bust. Supposedly, the photographer was caught and the film was confiscated. Then, the album’s working title was Cosmic Christmas or The Rolling Stones Cosmic Christmas. The Stones imagined it available at Christmastime with a In South Africa and the Philippines the album was released as The Stones Are 12” x 12” photo of Mick Jagger’s nude body nailed to a Rolling because of the word "Satanic" in cross on the cover. The band’s label company, the title. apparently the only adult left in the room, nixed this concept. “Cosmic Christmas,” aka “We Wish You a Cosmic Joke,” is a vestige of this original concept. The unlisted track is an instrumental song credited to B. Wyman. It consists of several seconds of music tacked on to the end of side one’s “Sing This All Together (See What Happens).” According to fan lore, this tack-on (it begins at about 7:54 in STAT(SWH)) should be played at 45 instead of 33. The unrecognizable music more clearly becomes an electronic rendition of “We Wish You a Merry Christmas” with psychedelic percussion. -
Made in the Shade the Begats Andrew Loog Oldham Begat Necrophilia
Metamorphosis and Made In The Shade The Begats Andrew Loog Oldham begat Necrophilia. Allen Klein begat More Hot Rocks (Big Hits and Fazed Cookies) which vanquished Necrophilia. Bill Wyman begat Black Box. Allen Klein begat Metamorphosis, which vanquished Black Box. The Rolling Stones begat Made In The Shade. Necrophilia Metamorphosis is the album the Rolling Stones had nothing to do with and did not want to see released, it was also the culmination of a 3-year effort by the Stones to produce just such a compilation that began with Necrophilia. Hot Rocks 1964–1971 was a compilation album that had been released December 20, 1971 by London Records. It is also the best-selling release of the Stones’ career. In 1972, Andrew Loog Oldham, the Stones original manager, began compiling an album for release as the follow-up to Hot Rocks. It was entitled Necrophilia and it featured previously unreleased or, more accurately, discarded outtakes from the Stones' Decca/London period. Designed by Fabio Nicoli as a tri- gatefold album it used photos from Gered Menkowitz’s Between the Buttons photoshoot for the outer cover. The inside of the unreleased Necrophilia was recycled and used for the cover of More Hot Rocks (Big Hits and Fazed Cookies) in December 1972. 1. Out of Time* A very limited number of copies of Necrophilia had 2. Don’t Lie to Me* been produced when, popular mythology has it, a 3. Have You Seen Your Mother major disagreement arose between Oldham and Baby, Standing in the Shadow Stones’ Manager Allen Klein. The playlist of Necrophilia 4. -
Citation: Mcgrath, JP (2019) "Doctor, I'm Damaged": Medical and Cultural
Citation: Mcgrath, JP (2019) "Doctor, I’m Damaged": Medical and Cultural Narratives of Nicky Hopkins and The Rolling Stones. In: Beggars Banquet and the Rolling Stones Rock and Roll Revolution: ‘They Call My Name Disturbance’. Ashgate Popular and Folk Music . Routledge. ISBN 9781138304758 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/7234/ Document Version: Book Section (Accepted Version) This is an Accepted Manuscript of a book chapter published by Routledge in Beggars Banquet and the Rolling Stones Rock and Roll Revolution: ‘They Call My Name Disturbance’ on 09 December 2019, available online: http://www.routledge.com/9781138304758 The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. Doctor, I’m Damaged: Medical and Cultural Mythologies of Nicky Hopkins and the Rolling Stones ‘We are deeply indebted to Nicky Hopkins and to many friends’, ends the list of acknowledgements on the Rolling Stones’ 1968 album Beggars banquet. -
The Rolling Stones
The Rolling Stones How Does This All Work? Before rock and roll changed everything about the industry, sound studios used to find songs for artists and sometimes they found artists for songs. They handled everything for all but the biggest stars-song selection, arrangement, mixing, titles, packaging, all of it. This is the world the 20-something Stones and their 19-year old manager stepped into in 1964. The Stones battles with Decca Records would be epic over the duration of the contract their young manager negotiated for them. They seemed to be constantly breaking ground with their covers in the 60s and 70s. Never short of self-belief, even when it was provided by an inexperienced teenage manager, those battles began right out of the starting gate with the Stones untitled debut album. The story of the Stones first album cover is the story of a young man’s bold ideas and Nicholas Wright’s modest photographs. A writer on the occasion of the 55th anniversary of release of this album said, “So while we should be celebrating The Rolling Stones’ first album for “Route 66,” “I’m A King Bee,” “Tell Me” and all the rest; telling tales of Phil Spector shaking maracas while uptight old Gene Pitney looned about the place like Bez, its greatest legacy to rock’n’roll came courtesy of the wrapper it came in.” That was the beginning of the revolution that became a way of life. The Untitled There were 642 days between the Rolling Stones July 12, 1962 first performance at the Marquee Club in London and the release of their first Advance orders for the Stones first album album on April 17, 1964. -
The Record Plant: Magical Seeds
CHAPTER 11 The Record Plant: Magical Seeds Halloween Masquerade Ball Studio Opening Dancing BYOD October 29 6 p.m. to 2 a.m. RSVP 415-332-2755 In the fall of 1972, the who’s who of the music business in L.A., New York, San Francisco, and beyond received this invitation on a slab of California redwood from Chris Stone and Gary Kellgren, owners of ! e Record Plant studios in Sausalito, California. John Lennon and Yoko Ono showed up dressed as trees, their presence a clear indication of the level of clientele ! e Record Plant’s Northern California outpost (they also helped launch ! e Record Plant’s L.A. and New York facilities) would attract. As the grand-opening bash raged through Sunday morning, word spread fast that this new stu- dio across the Bay was a party getaway for the rich and famous. 110 Chapter 11 The Record Plant: Magical Seeds With its Jacuzzi, guest houses, organic chefs, and rooms with waterbed fl oors—not to mention the laughing gas masks hanging from one control room ceiling and two fake walls leading to an escape route in case of a drug bust—! e Record Plant refl ected the excess of the times in grand, glitzy L.A. style. It also brought to San Francisco one of the industry’s fi rst “resort” studios: one that would off er good equipment and better times. It was one of the fi rst inde- pendently owned studios in town with the cache to bring in top-tier talent. At Sausalito’s “living room” studio, clients could take an extended vacation from label-town recording, stay in a beautiful city, and record in a high-end studio that off ered as many or more perks as a four-star hotel. -
Brian Jones – Authenticity and Significance
Brian Jones – Authenticity and Significance By Christian Botta The Rolling Stones’ guitarist and founder Brian Jones’ importance as a blues player is hard to define. At once a skilled multi-instrumentalist and an iconic symbol of sixties’ excess, he was also a central figure in the British Blues Boom, from which the group began. Because of his early death, the rapidly evolving nature of the Stones’ music in the 1960s, and his being overshadowed by blues players such as Eric Clapton, Jones’ legacy as a blues musician is enigmatic. This paper will take a look at Jones’ work and decide whether or not he was one of the important British blues players of the 1960s. Brian Jones began his career as an acolyte of the British blues scene that began to flower in London around the late 1950s, sitting in on slide guitar with bands like Alexis Korner’s Blues Incorporated. He was one of the first Britons to master slide guitar,1 and was considered to be one of the best blues harmonica players on the scene, as well.2 At the start, he was a blues purist in a milieu that was finding its way with great energy and enthusiasm. But the forces of pop stardom and the creative and competitive drive of Jones’ band mates Mick Jagger and Keith Richards eventually came to bear on Jones’ focus on the blues. What was Brian Jones’ importance to the spread of blues to the world at large and especially to musicians? Who did he influence? How authentic was his playing of the blues? This writer believes that Jones was a significant figure in the British Blues Boom and that he had an effect on American musicians, as well, and that his music has a degree of authenticity. -
The Rolling Stones the Ultimate Guide Contents
The Rolling Stones The Ultimate Guide Contents 1 The Rolling Stones 1 1.1 History .................................................. 2 1.1.1 Early history ........................................... 2 1.1.2 1962–1964: Building a following ................................ 2 1.1.3 1965–1967: Height of fame ................................... 4 1.1.4 1968–1972: “Back to basics” ................................... 7 1.1.5 1972–1977: Mid '70s ...................................... 9 1.1.6 1978–1982: Commercial peak .................................. 10 1.1.7 1983–1988: Band turmoil and solo efforts ............................ 11 1.1.8 1989–1999: Comeback, return to popularity, and record-breaking tours ............ 12 1.1.9 2000–2011: A Bigger Bang and continued success ........................ 13 1.1.10 2012–present: 50th anniversary and covers album ........................ 14 1.2 Musical development ........................................... 15 1.3 Legacy .................................................. 17 1.4 Tours ................................................... 17 1.5 Band members .............................................. 18 1.5.1 Timeline ............................................. 19 1.6 Discography ................................................ 19 1.7 See also .................................................. 20 1.8 References ................................................ 20 1.8.1 Footnotes ............................................. 20 1.8.2 Sources .............................................. 33 1.9 Further -
Property from Bill Wyman and His Rolling Stones Archive Press Release
JULIEN’S AUCTIONS: PROPERTY FROM BILL WYMAN AND HIS ROLLING STONES ARCHIVE PRESS RELEASE For Immediate Release: PROPERTY FROM BILL WYMAN AND HIS ROLLING STONES ARCHIVE COURTESY OF RIPPLE PRODUCTIONS LIMITED NEW DATES ANNOUNCED: FRIDAY 11 , SATURDAY 12 & SUNDAY, SEPTEMBER 13, 2020 AT JULIEN’S AUCTIONS BEVERLY HILLS THE LEGENDARY BASSIST AND FOUNDING MEMBER’S RENOWNED ARCHIVE – CONSIDERED THE MOST IMPORTANT COLLECTION OF ARTIFACTS AND MEMORABILIA DOCUMENTING THE ROLLING STONES’ HISTORY AND LEGACY AS ONE OF THE MOST INFLUENTIAL BANDS OF THE 20TH CENTURY – WILL BE OFFERED FOR THE FIRST TIME AT AUCTION Highlights include: Wyman’s historic 1962 VOX AC30 ‘Normal’ model amplifier which famously clinched his audition for the legendary British rock band, Wyman’s guitar collection used on the band’s career defining performances, tours and recording sessions, including his 1969 Fender Mustang Bass Competition Orange, 1978 Travis Bean Custom Short Scale Bass, 1974 Dan Armstrong Prototype Bass, 1981 black Steinberger Custom Short-Scale XL-Series Bass, Framus Star Bass model 5/150 Black Rose Sunburst, Brian Jones’ Rock and Roll Circus 1968 Gibson Les Paul Standard Model Gold Top and more Awards, Instruments, Concert Posters, Stage Worn Ensembles, Photographs, Correspondence, Production Documents and Other Ephemera to Rock the Auction Stage and U.S. Exhibition September 7 - September 11 in Beverly Hills A Portion of the Proceeds of the Auction to Benefit The Prince’s Trust, Macmillan Cancer Support and CCMI (Central Caribbean Marine Institute) SEPTEMBER 11TH, 12TH AND 13TH, 2020 Beverly Hills, California – (April 22, 2020) – Julien’s Auctions, the auction house to the stars, announced today the new dates of property from BILL WYMAN AND HIS ROLLING STONES ARCHIVE COURTESY OF RIPPLE PRODUCTIONS LIMITED taking place Friday 11th, Saturday 12th and Sunday, September 13th, 2020 live in Beverly Hills and online at www.juliensauctions.com. -
AES Pacific NW Section Home Page
AES Pacific NW Section Meeting Notice Around the Puget Sound, Seattle, Washington, U.S.A. AES PNW Meeting Notice By special arrangement with Palm Pictures A film documentary Tom Dowd and The Language of Music September 30, 2004, 7:30pm Shoreline Community College, Room 818 (music building) Every so often a commercial film arrives which shows the magic, art, and science behind what many of us love to do: audio for music. The most recent entry in this category enchanted a number of members of the Committee, and the PNW Section invites you to join us for a special showing of the video of the film: Tom Dowd & the Language Of Music. http://www.aes.org/sections/pnw/index-pf.htm (1 of 3) [10/1/2004 1:17:35 AM] AES Pacific NW Section Meeting Notice Tom Dowd was born in 1925 to musical parents. While pursuing a degree in Nuclear Physics at Columbia University, he ended up working for the US Army Corps of Engineers on what came to be known as the Manhattan Project, whose responsibility was the development of the first atomic bombs. After the war, security concerns and red tape created a no-win situation: finishing his degree was pointless. A summer job after the war led to a career in the music business. He cut his first record in 1947 at the age of 22. He remained active in the business until shortly before his death at age 77. Early on, Dowd met the Ertegun brothers, Ahmet and Nesuhi. The Ertegun brothers had a record label, Atlantic Records, and they had the good sense and timing to hire Dowd and Jerry Wexler. -
Cash Box, News
cash box, news POINTS WEST - "Are you ready for this? I have absolutely no background in the rec- Atlantic Release Features ord business at all." While that probably measures out an accurate description of many of us involved in this industry. you've got to admit it's a pretty candid opener. Hal Freeman of Cin-Kay Records - "An Independent By Choice" - however. is Zeppelin, Wyman, Genesis flushed with victory at the moment. so he can be excused. And if you don't care to ex- cuse him. it won't matter much. because he's a very determined man. Two of his first NEW YORK Atlantic/Atco Records positions previously unavailable in the - three releases have broken onto the Cash Box country singles chart this week in the latest album release is led by 4 -channel mode for which they were in- forms of "Love Isn't Love (Till You Give It Away)" In "Presence," the seventh album by Led tended. by Eddie Bailes and Al Bolt's "I'm Love With My Pet Rock." Zeppelin (on Swan Song Records). Merchandising information, publicity Freeman is one of those characters who either acts on an idea immediately or lets it "Stone Alone." the second solo album materials and promotion priorities have ride completely. There's no in-between. Both earnest and easy-going. Hal scrapes from Bill Wyman of the Rolling Stones been circulated in advance to all WEA the floor with the voice a radio (via Rolling Stone Records), and "A Corp. sales managers. marketing of jock as he speaks: "I'd been wondering why no one had released a record on a pet rock.