The Rolling Stones - Beggars Banquet (Vinyl)

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Sticky Fingers is the ninth British and eleventh American studio album by the English band the Rolling Stones, released on 23 April 1971. It is the band's first album of the decade and it was Mick Taylor’s second full-length appearance on a Rolling Stones album and the second Rolling Stones album not to feature any contributions from guitarist and founder Brian Jones after the live album get Yer Ya-Ya’s Out!
Instrumentally, the album featured a return to basics for the Rolling Stones. Absent was the unusual instrumentation which had been introduced several albums prior, most songs featuring drums, guitar, bass, and percussion as provided by the key members, which at this time were Mick Jagger (lead vocal, various percussion and rhythm guitar), Keith Richards (guitar and backing vocal),Mick Taylor (guitar), Bill Wyman (bass guitar), and wee Charlie Watts (drums). As with the other albums of the Rolling Stones classic late 1960s/early 1970s period, it was produced by Jimmy ‘Mr.Jimmy’ Miller.
The original cover artwork, conceived by Andy Warhol and photographed and designed by members of his art collective, The Factory, was highly innovative, showing a sexually suggestive picture of a man in tight jeans complete with a fully working zipper that opened to reveal a pair of underwear. Owing to the damage caused by the zipper to the vinyl disc, and the expense in producing the unusual cover, later re-issues featured just the outer photograph of the jeans.


This is where the Stones began dipping their grimy toes into various forms of Americana in a big way (discounting, of course, their early career in blues and R&B). The album fluctuates between their laid back form of it, and harder rocking contemporary efforts. And for all of the publicity about how Brian Jones was trying too hard to force the band into new directions, the Stones still sound pretty much tight and together on here.

Interestingly, half the songs on here almost sound like a foreshadowing of their sound on Exile on Main Street 4 years later. One difference is that on BB, they still sounded so ironic when trying out material that's supposed to represent backwoods or down home America; almost like they're slightly embarrassed to be trying it. That would have been unnecessary, as they did a great job anyway. Not in terms of aping or representing some specific standard style from America, but rather in becoming more casual in their ultimate success in creating something uniquely theirs. Note how they lost the irony over the next few years (right after Sticky Fingers, pretty much). And perhaps more importantly, look how loose they would get. Even if drugs did influence that.

All that aside, Beggars Banquet isn't strongly remembered as an album's album. Obviously, the lead-off hit gets played endlessly on classic rock radio, and has made various live and compilation albums ("Street Fighting Man" enjoying a more modest status in this regard). But the album isn't a total stylistic split. "Jig-Saw Puzzle" transcends all their styles up to that point into a slow building something that sounds greater than it really is. And "Salt of the Earth" does a beautiful job of combining their contemporary rock evolution with their American folky approach. It's a great album ender.

By: Astradyne2

A1 Sympathy For The Devil
A2 No Expectations
A3 Dear Doctor
A4 Parachute Woman
A5 Jig-Saw Puzzle
B1 Street Fighting Man
B2 Prodigal Son
B3 Stray Cat Blues
B4 Factory Girl
B5 Salt Of The Earth

180 Gram vinyl on "Swirling Mass Of Grey, Blue, Black & White".
Comes with Obi and including 11" x 18" poster.
Original gatefold cover.
"Made in Germany" sticker on back
9000 copies world wide (European + US versions)