The Rolling Stones - Sticky Fingers (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.

 



After honing their sound on the brilliant but inconsistent Beggars Banquet and Let it Bleed, The Rolling Stones perfected their stage act with new guitarist Mick Taylor on Get Yer Ya-Ya's Out. By late 1970, The Rolling Stones were unquestionably the greatest rock band in the world. For their first full-length effort on the upstart Rolling Stones Records, the group decided to show just how versatile they were.

Sticky Fingers lacks the stylistic unity of their two previous studio efforts, but atones for it with what is easily their best set of songs. I could say that the album opens with their definitive (though not greatest) song in "Brown Sugar," but I would be overlooking one thing: the fact that the album actually opens with a zipper. Andy Warhol's provocative and inventive cover design, once unzipped, reveals a generous package (applaud at my double entendre). "Brown Sugar" is a caricature of all the Stones' strongest musical instincts, and I mean that in the most complimentary way. Keith Richards' go-to rhythmic shuffle is complemented by some of Mick Jagger's most tawdry lyrics to date. The song is offensive on so many levels, but the riff is so intoxicating that these issues become mere trifles before Charlie Watts even attacks his drum kit. It is followed by one of the most affecting and compelling proto-power ballads in "Sway," an easy contender for the crown of "Most Underrated Rolling Stones Track." Mick Taylor makes his presence felt in a big time way, as he churns out one of his most effective, yet understated solos during his all-too-brief tenure with the group. "Wild Horses" might be the group's best ballad, all members of the group in sync. The one curveball on Side One is the seven-minute "Can't You Hear Me Knocking," which boasts a riff nearly as incredible as "Brown Sugar," only to dissolve into a Santana-like jam that scarcely sounds like the Stones at all. This second half of the song is salvaged by the group's impeccable sense of rhythm. Side Two finds them showing off their skill at a variety of American musical forms. "Bitch" is their misogynistic Motown tribute, "I Got the Blues" the tip of the cap to Stax-Volt, and "Dead Flowers" their sincere parody of the gallows humor of AM radio country music hits. The emotional high points of the album are found in "Sister Morphine," a headachy hangover of a song that features some of Keith Richards' best lead guitar work to date. The closer, "Moonlight Mile," may be the group's pop masterpiece, though the marketplace wasn't ready for the six-minute track at the time. Paul Buckmaster's tasteful strings perfectly suit Mick Jagger's rudimentary acoustic guitar riff and rousing vocal performance. As a cycle of songs, Sticky Fingers is all over the place, and doesn't cohere as well as similar genre-jumping records like The Beatles' Revolver or The White Album. But the songs are so damn good (even the throwaway take on "You Gotta Move" has charm) that the criticism is practically pointless to make. While this is their best set of songs, their best studio album awaits in 1972's Exile in Main St.


By: YerBlues.


A1 Brown Sugar
A2 Sway
A3 Wild Horses
A4 Can't You Hear Me Knocking
A5 You Gotta Move
B1 Bitch
B2 I Got The Blues
B3 Sister Morphine
B4 Dead Flowers
B5 Moonlight Mile



The cover photo of a male model's crotch clad in tight blue jeans was assumed by many fans to be an image of Mick Jagger, but the people actually involved at the time of the photo shoot claim that Warhol had several different men photographed (Jagger was not among them) and never revealed which shots he used. Among the candidates, Jed Johnson, Warhol's lover at the time, denied it was his likeness, although his twin brother Jay is a possibility. Those closest to the shoot, and subsequent design, name Factory artist and designer Corey Tippin as the likeliest candidate. Warhol "superstar" Joe Dallesandro claims to have been the model.[8]
After retailers complained that the zipper was causing damage to the vinyl (from stacked shipments of the record), the zipper was "unzipped" slightly to the middle of the record, where damage would be minimised.


Mastered at Abbey Road Studios, London – Half-Speed Mastering LP, Album, Reissue, Remastered, 180 Gram.