Rock Music factsFacts about Rock
The Rock Squad - Facts Of Life (Vinyl, 12", 33 ? RPM)
We are working on giving you more possibilities to accept cookies..... In the meantime, you can choose to accept all or only the cookies required to operate the website. Itichetta: Formato: Paese: Uscita: Genere: Stile: Mastered By - Herb Powers Jr. B-side carries the title "Facts Of Dub" on the album.
Recording at Shakedown Studios and Unique Recording, NYC. Blended at Shakedown Sound, NYC. Maestro in Frankford-Wayne, NYC. Released by T-Boy Music, Squad Music, ASCAP. 1985, Tommy Boy Music, Inc.
The Rolling Stones (Part 1)
According to Jagger, the play was inspired by reading Mikhail Bulgakov's novel The Master and Margarita and listening to Bob Dylan's most visionary pieces. From June 4 to 12, 1968, the French director Jean Luc Godard filmed the group while they were recording the song.
The play was then included in the movie One Plus One, which was released in Italy under the title I Rolling Stars after Godard. After " Streetighting Man " there is here a " Prodigal Son ", which pursues to the sound of the Blue the Evangelist parable of the lost son. The song was a repetition of a 1929 classic signed by Robert Wilkins, but the Saints had initially thought well of not acknowledging it.
"The Stray Cats Blues" is a robust rock blue with funny colours, balanced by a scandalous love story between an adult man and a 15-year-old girl. Musically, the piece was inspired by the gloomy visions of "Heroin" by Velvet Underground, while it is likely that Jagger was once again influenced by Nabokov's work, in this case the novel Lolita.
There are new tracks in "Factory Girl", a song that records the presence of Rick Grech (bassist of Blind Faith) on the violin and Dave Mason (guitarist of Traffic) on the mandolin. The last song, "Salt Of The Earth" (a hymn to the working class, the true "salt of the earth"), closes with a choir system that makes the Watts Street Choir's spirit of dizziness even clearer in the line.
In December 1968, The Stones released The Rolling Stones Rock and Roll Circus, a television movie recorded with a group of bands and musicians including Who, Marianne Faithfull, Eric Clapton and John Lennon. Two days later, at Hyde Park in London, the Stones hosted a free concert in front of 250,000 people, where the guitarist's vacancy (dedication of the concert) was covered by the new Mick Taylor graft, which comes from John Mayall's Bluesbreakers.
While Taylor had no taste for Jones' eccentricity and experimentation, he could rely on a solid technical background and versatility that would make him a fundamental farmer for the band's musical development. Taylor's debut in the Taylor studios was followed by the recording of the single "Honky Tonk Women" / "You Can't Always Get What You Want", which underlined the Stones' renunciation of any experimental and psychedelic claim.
In November the Stones flew to the United States, where they were expected for a new touring. While the Stones were performing "Sympathy For The Devil", one of the members of Hell's Angels (a bunch of motorcyclists to whom the organizers had superficially entrusted the order service) killed the African-American Meredith Hunter with a knife.
To avoid further problems, the Stones boarded a helicopter and flew safely to San Francisco. It wasn't a conscious decision, but the band's new album, released just a month later, had a title on the cover (Let It Bleed: "Lascia cheese sanguini" for short) that appeared to most as further confirmation that the Stones were a "dangerous" group.
As for the music, we are on the side of a better-produced beggar's banquet with magnetic and deep-rocking songs able to take a look at the Vietnam War and violence in general ("Gimme Shelter", with Merry Clayton's female counter-single, Nicky Hopkins' usual big piano work and Jimmy Millers' percussions), for a life of excesses ("Live With Me", characterized by an irresistible groove and by Bobby Keys' saxophone interviewer Bobby Keys' saxophone), a life of excesses ("Live With Me", characterized by an irresistible sonic groove and by Bobby Keys' saxophone interviewer Bobby Shelter", with a view to the Vietnam War and violence in general;
There is always the blue between the lines, but it is discovered in "Love In Vain", the title of a song written by Robert Johnson in 1929, for whose arrangement the Stones also used the mandolin entrusted to Ry Cooder for the occasion. The ballad "You Got The Silver" has two reasons for its interest: it's the band's first song entrusted to the only voice of Keith Richards, and it's the last one in which Brian Jones performs (all'autoharp3).
Meanwhile, due to some disagreements with Allen Klein, the group decided to start a personal label, which they simply called Rolling Stones Record, whose brand (the red mouth with the bad tongue) debuted on the cover of Sticky Fingers (April 1971), where Andy Warhol showed a pair of Jerky denim photographed in the pubic area.
Was contacted by Jagger as early as 1969 when the idea was put forward that the best known pop artist was the right person to cover the second band of the Stones' greatest hit, Through the Past, Darkly. Sticky Fingers' are the stones trapped in their naked and rough rock-blue power, and it's no coincidence that the record is regarded by many as its absolute top, also because of a wider range of solutions than the previous records.
In my opinion, the comparison with the next exile on the main street does not stand up, but it is certainly a very important piece in the construction of the legend of the "Rolling Stones", which is marked by moments of absolute depth, beginning with the "Brown Sugar", which, announced by one of Richards' most memorable riffs, is then used for a walk between allusions to heroin, sex and slavery, by the usual disrespectful and lustful Jagger.
Highlights of the album include the ballad in the soul-smell of "Sway" (with string arrangement by Paul Buckmaster and two great solos by Mick Taylor, one on the sliding guitars and the other in the queue, on the electrics), the acoustic melancholy of "Wild Horses", this poisonous and misogynistic hybrid of rock,
The rest of the album continues with great class, starting with "Can't You Hear Me Knocking ", a song that breaks through the seven-minute wall and relies on Rocky Dijon's band and Bobby Keys' saxophone for the last four to redirect the previously accumulated energy towards a Latino psychedelic jazz in Santana's orbit.
He remembers the foil for "You Gotta Move", a blue on the tracks of the Mississippi Delta, with Jagger and Richards on vocals and Billy Preston on organ (you can also hear him on "I Got Blues", where the "music of the devil" opens the doors to the deepest sadness). Thus the stones were found on 5 May 1971 in the Villa Nellcôte, a large white house in Villefranche sur-mer, just a few kilometres from Nice.
Keith Richards and his then companion Anita Pallenberg had settled there, while the other stones were scattered between Saint-Tropez and various towns in the region. When the Stones realized that there were no reliable recording studios to get back on track and start recording new material, they thought the only possible solution was to use the portable recording studios they had already used to record some traces of Sticky Fingers.
Otherwise, we had to move to Paris, where there were studies that lived up to their reputation as top rock stars. Not only is it the absolute masterpiece of the Stones, it is also one of the most important rock records of all time. In the album of "Exile" the Stones appear anything but spectators of their own (or freaks, as they make up the photographic colage chosen for the cover of the album), yes one can say that they feel even more at ease with the repetition and reinterpretation of their musical roots under the direction of a Richards who, despite the abuse of alcohol and drugs, undisputedly shows that he is the real engine of the group.
is a painful, lyrical, unkempt record, but with the elegance that belongs only to the Bohemians. Even today, many accuse him of having poor sound quality, which is also supported by Jagger's idea that it has always been unsuccessful due to inadequate production and recording.
But few records are so sincerely and passionately dedicated to rediscovering the original spirit of blue and rock'n'roll, genres whose soul blends perfectly with the opening track "Rocks Off", full of bold euphoria and enriched with a honky-tonk piano (Ian Stewart) and a guessed arrangement of horns (Jim Price).
The same energy, but turned in proto-punk direction, is found in the boomie of "Rip This Joint", the announcement that the Stones will come to your city and turn everything upside down. In the rhythmic blue of "Shake Your Hips" (cover of a song by Slim Harpo) more than obvious tracks of "On The Road Again", the hit single of Canned Heat, appear.
After the " Casino Boogie ", written by Richards in memory of some of his bosses in the casino, " Tumor Dice " captivates with the scents of fine music, which will take on rural features in " Sweet Virginia " and " Torn And Frayed ". "The acoustic ballad Sweet Black Angel", between the delta blue and the sounds of the westerns, was written to support the black activist Angela Davis.
"Finally Loving Cup" closes the first recording with the piano of Nicky Hopkins and the section honked to make the big voice. The guitar attack of "Happy" is legendary to say the least, but the whole track is an unforgettable hymn in which rock'n'roll, blue, grapevine, soul and everything else come to the fore.
"On the other hand, "Turd on the Run" relies on a "railway" Blues that does everything to resemble a ritual voice (the harmonic line played by Jagger is remarkable). So here is "Ventilator Blues": visceral, electric, full of unhealthy spirituality. We' re having a drink at the tavern while the band's in and fucking some drunk boys around.
The most exciting moments of the album are certainly "Let It Loose" and "Shine A Light", which are round and full of lyricism and are once again due to sources of music. The picture is rounded off by the granitic atmospheres of "All Down The Line", the homage to Robert Johnson by "Stop Breaking Down" and a " Soul Survivor" who is practically an ode to the hard skin of a volume that had seen so many.
Of course the Stones would have gone a long way, but with Exile On Main St. they reached the peak of their inspiration and ideally even completed an era. Musical instrument with plucked strings belonging to the cordophone family.