__________________________________________________________________ Issue 756 -- Wednesday, January 12, 2000 _________________________ STICKY FINGERS JOURNAL _________________________ e-mail: SFJ@StickyFingersJournal.com web site: http//www:StickyFingersJournal.com --------------------SFJ-------------------- From: ToySekr@aol.com Subject: Re: SFJ 755 In a message dated 1/9/00 11:20:50 PM Eastern Standard Time, SFJ@stickyfingersjournal.com writes: << > >> Hi All, I am interested in finding outtakes and other unreleased music from The Stones. Is there a kind soul out there who can point me in the right direction? Any information would be greaatly apreciated! Email me if you can...thank you, Hillary --------------------SFJ-------------------- From: Hogan217@aol.com Subject: Re: SFJ 754 i do know somthing about the canada concert for the blind women. what happen was Keith was facing at least 10 years in prison or somthing around there. well the blind women goes to the judge's house & asked the judge to let Keith Go & give him another chance. so the judge did then Keith & the Stones put on a concert for the blind. like 2 or 3 days after that. --------------------SFJ-------------------- From: "Holly Lance" > Subject: 1963 Sessionography Hi All, Just to let you know that the 1963 Sessionography is posted, I'll be doing more research as time passes by. So far response to continue it has been surpassed. Have a look, suggestions welcome. Holly Lance (holly1) (The Girl With Faraway Eyes) ICQ#3208894 IRC: Undernet #stones holly1@stones.com ftp: 24.222.9.110 port 1267 holly1/holly1 --------------------SFJ-------------------- From: CrawDaddy > Subject: IORR charity single >From: "Michael Toal" > >Subject: IORR charity single > > >Re: > >From: DaStonesFan@webtv.net (gary) >Subject: Cd single!! > >The IORR charity single is for the Children's Promise charity, >and contains about three or four versions, sorry "mixes" >(showing I'm not under 20) and video. Features a host of top >names including keef on geetar, you should be able to pick it >up on import quite easily. Very good it is too. It's suddenly become, >and I paraphrase, "one of the Stones all time best", long after we all knew it. > >Michael Toal This is correct, but incomplete. There are **TWO** "pressings" of the CD Single. One is as described above, but the other does NOT have the video. The one with the Video (CD1) says on the cover "Includes bonus CD-ROM Video" and has the following tracks: 1 Single version (4:49) 2 Arthur baker & Rennie Pilgrem Rawkin Roll Mix (3:47) 3 Shaft's Radio Mix (3:42) 4 Mickey Finn & L'Double - The Innovative Flex Remix (5:07) CD2 has a 'red' photo and these tracks 1 Full Length Version (6:30) 2 Phats & Small Mutant Disco Mix (4:00) 3 Ruff Driverz Innercity Sumo Mix (6:04) 4 Deadly Avengers takes the Mick Remix (3:09) ---- CrawDaddy@btinternet.com The Home of The Blues --------------------SFJ-------------------- From: "Werner Coldewey" > Subject: Mick Jagger: "Streets Of Berlin" Mick Jagger is performing the song: "Streets Of Berlin" in the mowie: "Bent". Is there anybody in Stonesland who has a copy of this song(.wav or .mp3)? Werner at coldewey@stones.com --------------------SFJ-------------------- From: CUB > Subject: WARNING MESSAGE Just got a new release from VGP a company I mostly like very much. Title cool: WE HOPE YA LIKE DIS ONE-VGP 235 Bold too as the obvious answer is:"How low can you sink by releasing shit like this?" Proudly on the back it says ORIGINAL SOUNDBOARD RECORDING but that does not help as it sounds pretty awful almost all thru.... Its a 1 CD album Traxlist: Toronto,750617 1.Luxury 2.Fingerprint file(remix 1) 3. same 2 4. same 3 Washington,750702 5.Doo doo doo doo doo 6.IORR Earl's Court 760526 7.Hand of fate 8.Hey Negrita 9.Aint too proud tom beg 10.Fool to cry 11.Hot Stuff 12.Star star Abattoirs,760607 13.Fool to cry 14.Hot stuff And they have released the track IORR despite terrible scratching sounds that makes it unlistenable in the beginning of it.SHAME ON VGP!To not try to clean up a track like that or release it like this is *criminal*. Ulf *Made of wood*...20/14ARS HOME PAGE: MUSIC SITE: ~http://www.bahnhof.se/~hasu/Ulflist ICQ: 20747542 --------------------SFJ-------------------- From: free_the_stones@stones.com Subject: Article: New directions for the next decade (rock group Living Colour to open for Rolling Stones 1989 tour; young musicians often pigeon-holed by record companies and radio stations) by Jay Cocks Time magazine 1989 As it closes out the old decade and faces the new one, rock may be too catholic for its newer, younger core audience. Kids, of course, need a music to call their own; they need music that speaks to them while it cruises over the heads of their elders, or, even better, turns them right off. "The sales today are going with hard rock," says Kal Rudman, publisher of Friday Morning Quarterback, an industry newsletter. "Heavy metal is doing well with sales and at concerts in the 14-to-18 age range. Rap is extremely big but is quite racial. That's doesn't mean white kids aren't into it, but it's pretty well segregated." To open for them on their new tour, the Stones have chosen hard-rocking Living Colour for a slot that has, over the years, taken on a fair amount of significance. Opening for the Stones has come to be not just another lucrative gig but a way for musicians (black) to break through to a larger audience (white). Stevie Wonder toured with the Stones; so did Peter Tosh; last time out, Prince kicked off some concerts for them. It is the Stones' way of reminding audiences of the incalculable debt the band owes to the traditions of rhythm and blues, and soul. It is also good business. Black audiences may turn out to catch the opener and stick around for the headliners. Certainly putting a quarter-century-old rock outfit beside a new band that's hot and soulful gives the Stones a little proximity to the future. Keeps them fresh, you might say. Keeps them young. For its part, Living Colour could use a little of the Stones' legendary entree. Theirs has not been an easy road. They were a hot club band on the East Coast, "really quite well known," as Mick Jagger says. "But they couldn't get a record deal because they were black and they weren't playing funk. They didn't fit into a category." A black band romping in the white world of hard rock is an anomaly (or, as the promo men would say, a hard sell) even today. Musicians may cross over a lot, but radio stations seldom do. Vernon Reid, 31, who plays guitar with an ear on Hendrix and an eye on the Top Ten, recognized the problem early on. "Being black makes it tougher," he says. "It helped that we are a good band. But we had to be real good -- better than a white band has to be -- to convince radio and record companies to take the risk." There was a significant, and surprising, payoff. Living Colour's first album is still on the pop charts after a year, and after selling 1.5 million copies. Rap also has a problem with the deejays. "The Top 40 stations won't play it," says Rudman, even though some rap (by Tone Loc, Run-D.M.C., L.L. Cool J and the all-white Beastie Boys, among others) has busted through onto the upper regions of the pop charts. Not all the young action is rap, though. Ziggy Marley, one of Bob's band of children, has got the gift and, to go with it, a light way with carrying a heavy torch. On One Bright Day, the new album he made with the Melody Makers (his younger brother Stephen and two of his sisters, Sharon and Cedella), there is a lot of tradition and a little trailblazing. "This album to me sound a little stronger," says Ziggy, 20, with deft Rasta inflections. "A little stronger in the beat. It feel harder, with more aggression. I sing it more aggressive. I'm getting older. Music is a weapon. You can use a gun for murder, or you can use it to defend yourself." That's the choice: clap hands or put them up. Marley likes rap ("Yeah, mon. It's cool") but swears allegiance to reggae. Rap has proved to be a fertile source of inspiration for the ravishing Nenah Cherry, whose hit single Buffalo Stance dressed street sound up in supper-club clothes without sacrificing funk. Bobby Brown, the soul flash of the moment, made an album that sold more than 4 million copies and spawned three hit singles, marrying the sensuality of Marvin Gaye to the unearthly musical surprises of Prince. If there is one more route into the '90s, it leads inward. That's the Call's unswerving direction. After a single play of their new album Let the Day Begin, you understand immediately and intimately why Peter Gabriel called them "the future of American music." The Call's music is not retrograde or nostalgic, but it does hearken heavily to the indwelling mysteries that Dylan and the Band and Van Morrison also heard. "The Call is a band for people who feel things extremely," says Michael Been, the group's songwriter. "We're not for people who are extremely cool, for whom cool is the ultimate expression." >From available auguries, it seems that the '90s may not be too cool either, so the Call should fit right in, finally. They have been cult favorites for about ten years now, but the title track of the new album is getting some wide play on the radio. "We shouldn't waste rock 'n' roll," Been says. "Rock should be looking at some of the big questions." And he has wise words for anyone fretting over the graying of rock, for whoever freaks out on musical fashion and obsesses over obsolescence. "To be a rock 'n' roller isn't like being a football player," he says. "There are brilliant jazz and country players and classical guys in their 60s. If you're a musician, you're a musician for life." Remember that this New Year's Eve. And turn the radio up a little. The Call should still be on. --------------------SFJ-------------------- From: lee patterson > Subject: Cocksucker Blues The Rolling Stones Cocksucker Blues Bbm Well, I'm a lonesome schoolboy and I just came into town Ebm Bbm Yeah, I'm a lonesome schoolboy and I just came into town F7 Ebm Bbm Well, I heard so much about London I decided to check it out Bbm Well, I wait in Leicester Square where the guy never looks in my eye Ebm Bbm Yeah, I'm leaning on Nelsons Column but all I do is talk to the lime F7 Oh where can I get my cock sucked, where can I get my arse fucked Bbm F7 Bbm I ain't got no money, but I know where to put it every time Well, I asked a young policeman if he'd only lock me up for the night Well, I've had pigs in the farmyard... some of them, some of them are alright Well, he fucked me with his truncheon and his helmet was way too tight Oh where can I get my cock sucked, where can I get my arse fucked I ain't got no money, but I know where to put it every time --------------------SFJ-------------------- From: "Bonita Y. Lei / Great Modern Pictures" > Subject: Online Exhibition of Rolling Stones photographs Greetings, The exhibition "The Rolling Stones: Bob Gruen Photographs" ended at our New York showroom January 9, 2000. Our thanks to the Stones fans worldwide who helped make it a success. The complete exhibition, including all 49 photographs and catalogue notes, will remain permanently online at our website at www.greatmodernpictures.com/newpage117.htm The photographs may still be ordered online or viewed on request at our New York showroom. Feel free to contact us if you have any questions. Regards, Bonita Lei Great Modern Pictures 17 West 24 Street New York, NY 10010 Tel. 212-242-2581 Tuesday-Saturday 10-6 Sunday 12-5 --------------------SFJ-------------------- From: "John Carr" > Subject: New Sticky Fingers Is Out Sticky Fingers Magazine is a Rolling Stones dedicated magazine with lots of new, interviews, reviews and information on rare recordings, both official and bootleg. Our latest issue, Vol. IV, #5, features The Mick Taylor tour of 1999, opening with Jon Marko's Hangin' With Mick, concert reviews of Boston and Philadelphia, and the Jim Sheridan's Philadelphia Interview. This issue also features reviews of the 1973 Rotterdam Rehearsals-- "Can You Hear The Music?" and the recent Vinyl Gang 'upgrade,' "Can You Hear The Mobile." Plus reviews of a number of the most recent No Security live recordings, such as "Keef Got The Silver," "Jumpin' Jack Fleeced," "Walking In The Moonlight" and Dandelion's "North To South." Dave Smart as the question: Who's Hoarding All The '72's? in a piece that highlights most of the Stones great picture books. Plus Part 2 of The Satanic Sessions Revealed. In Vegas Crap Shoot, Dan Swenson reviews the big three titles from the 1999 Las Vegas show: Sister Morphine's "Casino Boogie--Las Vegas 1999," Vinyl Gang's "Viva Las Vegas, Vol. II" and Stones of Fire's "Casino Royale." In Stones In Review, our reviewers look at "Manchester 1973," "Drinkin' TNT," "Rome 1990," "The Last Incarnation" and more. This issue contains all our usual features -- Hot Stuff, Sticks and Stones (our letter column), the authoritative Underground Stones and Video Rewind, which takes a look at the Shepherds Bush club gig. Visit our website for a look at the cover and more information: www.stickyfingersmagazine.com 'Sticky Fingers Magazine' is published 6 times a year. Each issue is 44 pages of news, reviews, articles and discussion on the World Greatest Band. While the 'Sticky Fingers Journal' is the newspaper of the Rolling Stones, SFM is the permanent record of the Stones musical journey. Written by fans for fans, and those who just can't get enough about their favorite musical group. Subscriptions are $30 US for a 1 year (6 issues) subscription. Canadian subscriptions are $35 and all other foreign subs are $40. Sample issues are $5.00 ($6.00 overseas). Send check or money orders to John Carr at: Sticky Fingers P.O. Box 3474 Granada Hills, CA 91344 Best, John Carr Editor of Sticky Fingers Magazine stickyfingersmagazine.com --------------------SFJ-------------------- From: jenkindi@baxter.com Subject: Calenders Wow. I rec'd two Stones' Y2K calenders ordered from the Music Machine and am very, very pleased! The photos are quite large and the pages are bound with spiral wire. The costs of the calenders was less than what was on the market last year during the tour. I ordered two and they are each different. The photos of Mick are delicious. The rest of the boys aren't bad either. One of the calenders has Brian on the front and inside also. The only negative that some people might not like is the dates are very small for each month so there is not alot of room to write anything in on a specific day but the photos are worth it so it doesn't really matter, to me anyway. I would strongly suggest that if any of the SFJ people want a calender, this is the ONE! Actually, I don't think there are any other choices out there that I could find! The contact is "Music Machine" and can be reached at #410-356-4567. It took awhile to get my two calenders but it was well worth it due to the quality and lovely pictures! --------------------SFJ-------------------- From: "Graham Host" > Subject: Stones MP3 sites G'day and Happy new year. I've just returned from a trip down the south coast at my brothers holiday house where my family and I saw in the New Year.While I was there, my brother started up a BBQ and cranked up the Stones.What a great way to see in the new century! But before I went down there I had to Re format my hard drive and I forgot to write down some important web sites I had stored in my favourites.And a majority of them were Stones sites.But worst I had a couple of MP3 sites with Stones tracks on them and now I cannot find them. Could somone out there be kind enough to forward some MP3 web addresses my way. I have the Flashpoint site stored,but I need more. I would greatly appreciate it. Graz --------------------SFJ-------------------- From: Tom Ryan > Subject: VH 1 Poll Happy to see the Stones made it to the top with "Satisfaction", but looking at the names on the list you have to wonder what were the judges using as a definition of Rock and Roll. Most of the Beatles songs that scored high are more light pop than R&R. All 5 Stones songs are rockers. Can't say the same about the Fab 4's. And the lame excuse about the Beatles having so many songs to chose from as the reason for their top finish of 9, give me a break. Last I looked the Glimmer Twins were still composing rockers that with time will become classics. How can they leave off "Shout" by the Isely Brothers? No Bo Didley but The Carpenters? No "House of the Rising Sun" by the Animals but "Crazy" by Patsy Cline? Imagine a list without Sam the Sham and the Pharaohs doing Wooly Bully, 99 Tears or Little Red Riding Hood but including that all time rocker, "Imagine". Art Garfunkle gets to vote for "Bridge over Troubled Water" but not the better "Graceland" or "The Boy in the Bubble". We gotta get out of this place! The lads deserve better company. The World's Greatest Rock and Roll Band can stand up to the best. They shouldn't have to share space on a list with bogus claimants. Get a list for the crooners and balladeers. (And maybe "Moonlight Mile" or "You Got the Silver" will come in Numero Uno). Let's keep the R&R list with rockers. This must be the Y2K glitch we have been warned about. ===== T.E. Ryan San Rafael, Ca. --------------------SFJ-------------------- From: free_the_stones@stones.com Subject: Article: Satisfaction guaranteed. by Peter Newcomb Forbes Inc. 1989 Satisfaction guaranteed YOU CAN'T ESCAPE them these days. They make the covers of such magazines of mass culture as Time and Rolling Stone, and even this issue of FORBES. Now 27 years old, the Rolling Stones group should gross nearly $90 million this year, its costs are down, and management seemingly operates without a hitch. An impressive record in a business where success is often brief and fortunes fleeting. The Rolling Stones name was once synonymous with drugs and decadent excess. But today it means money. The group's two leaders, singer Mick Jagger and guitarist Keith Richards, have transformed their road show into a rather smooth-running corporate business. Interviewed by FORBES in Washington, Conn. while the band rehearsed for its recently opened Steel Wheels tour, Jagger and Richards revealed a sharply focused management style. Although the two key people are radically different from each other, they seem to have established an efficient, if fragile, balance. "We never dreamed there was any money when we started this thing," claims Richards, through a cloud of Marlboro smoke. "It was idealism. It was not knowing what else to do with your life. But then, suddenly, the impossible happened." It's often like that: success coming, not to those who pursue her avidly, but unexpectedly and informally to those who practice intensely something they enjoy doing. With such hit songs as "Satisfaction" and "Jumpin' Jack Flash," the quintet quickly won the hearts of teenage fans not just in their native England but around the world. With money came the real world. In those days Britain's socialist government taxed high earners at a confiscatory 98%. Jagger and the Stones left their first record label--London--and their British homeland, becoming tax exiles. Forming their own record label in 1971, the Stones went on to become rock 'n' roll's most successful band, recording such classic long-players as Let It Bleed, Sticky Fingers and Exile on Main Street. But the band's delicate infrastructure crumbled three years ago amid widespread publicity. Plans for a world tour following the release of their last album collapsed when Jagger and Richards battled over the band's creative control. But after a couple of years of going their own ways, Richards and Jagger shook hands again in August 1988. On the heels of recording their new album, Steel Wheels, the Stones have landed the fattest touring contract ever. Toronto-based promoter Michael Cohl, through his Concert Productions International, has guaranteed them $70 million, plus a piece of the profits, for the rights to promote the Stones' 1989 tour, their first in seven years. "They're guaranteeing us a large amount of money," says Jagger, clearly pleased. "The element of risk was completely taken out." Meaning that the promoter shouldered the risk, and the Stones can't lose. Cohl hopes the North American Steel Wheels tour will draw 3 million people in just under 60 shows. At about $30 a ticket, the tour stands to gross some $90 million in ticket sales alone. The stadium owners and local promoters will probably keep 40% of the gate between them, meaning Cohl and the Stones should realize over $50 million. Cohl is counting on merchandise--T shirts and other tour paraphernalia--to bring in enough money to carryhim over the $70 million guarantee. For this tour, Jagger and the Stones have taken merchandising one step further. Not content with the basic black concert T shirt, the Stones are moving into upscale souvenirs--Rolling Stones Rockwear--to be sold at the concert sites when possible, but also in retail outlets like Macy's, J.C. Penney and Marshall Field, where Rolling Stones boutiques will carry the full line. On sale will be everything from $450 bomber jackets to $5 bandanas. Other items include sweatshirts, skateboards and two types of Converse high tops, all of which will be stamped with the special Steel Wheels logo. Then come pay-per-view television rights. Nothing has been confirmed yet, but a deal for domestic rights is close to being signed for $6 million to $7 million. There's also the possibility Cohl and the Stones can increase that amount through the sale of foreign TV rights. Also in the works: a tour-related movie and a two-hour TV special, a Rolling Stones retrospective for NBC. Produced by Saturday Night Live's Lorne Michaels, that show could bring yet more money to Cohl and the Stones. And then there are sponsorships. The Stones were one of the first bands to take on corporate sponsorships--during their last North American tour, in 1981--signing a deal with Jovan, a perfume company. For the Steel Wheels tour, Anheuser-Busch paid close to $6 million for rights to make its Budweiser beer the sponsor. Add it all up, and a $90 million gross for the Stones this year seems achievable. Do corporate sponsorships compromise standards? The stones argue that the sponsorships benefit the fans, who get cheaper tickets as a result. It's a doubtful argument, but what the hell, this is show business. "I don't know about the evils of sponsorships," Richards replies. "But sponsorships enable you to keep the ticket prices down in order to build the kind of stage that's required. And stages don't come cheap. . . . I have no qualms about a beer company wanting to put their name on the ticket." True, the Stones have a high overhead. Their brand of entertainment requires at least two stages throughout the tour, one stage leapfrogging the other from one city to another to accommodate the rigorous pace of the tour. Construction costs can be as high as $1 million per stage. Make no mistake: These are no woolly-headed performers at the mercy of smart business people. Four years ago the Stones signed a distribution agrement with CBS Records in a deal that reputedly gave the band $25 million for four albums and the rights to the old Rolling Stones catalog from Atlantic. CBS record chief Walter Yetnikoff admired the way the Stones payed attention to detail. "Mick was very astute," Yetnikoff remembers. "In his head he figured out what the French royalty would be on a record, doing the conversion and taking off the VAT tax. I can't do that without my royalty guide." In an off year, when there is no tour and no new album, the catalog of older records still does about 1 million copies. At a probable royalty of $1.75 per record, that gives the Stones a kind of annuity amounting to around $2 million a year even if they quit work. Throw in a single new album at 3 million records, and the annual take rises to as much as $7 million for very little effort. But that's not all. Each time a Stones record is played on the radio the songwriters get a royalty--about 5 cents per airplay. A negligible amount, but if an album dishes up two or three number one hits, the amount adds up, especially figuring the score of other Stones hits that radio routinely subsists on. Who keeps track of all this money? A chap named Rupert Loewenstein, a prince of the pocket-size country Liechtenstein. Loewenstein was a merchant banker in London when the Stones hired him as financial adviser in 1971. Not surprisingly, all this loot finances a lavish lifestyle: Jagger has homes in the Caribbean and the south of France. It also fosters a sharp awareness about taxes. "In an international thing like this, everyone wants a piece, and we don't always think each government should get a piece," Jagger says. "I don't mind having to pay a fair amount of tax, but if they all got it, there wouldn't be anything left." Jagger gives Prime Minister Margaret Thatcher credit for reducing taxes sufficiently that many expatriates have returned to Britain. "Given that," says Jagger, "everyone in England--begrudgingly, some of them--has a lot of admiration for her." Rolling Stones drummer Charlie Watts, for one, has moved back. But Jagger and Richards themselves prefer to avoid British taxes to the extent possible. "It's the reason I don't live in England anymore," admits Richards. "My citizenship is British, but I am a resident of nowhere." Besides minimizing taxes and maximizing income, what do the Stones plan to do with their money? It's a subject Jagger gives lots of thought to. He grew up in middle-class yet comfortable surroundings not far from London and studied at the London School of Economics. "In those days, one thought that getting a degree like that would get you a better-paying job," he explains. "An arts degree got you nowhere." Jagger concentrated in macroeconomics, a move he says has helped him in managing the Stones' business. At 46, Jagger sees himself carrying on as an entertainer but also has plans for playing more of a role in business. "I think I have a certain aptitude for production and packaging, and I enjoy delegating," says Jagger. "I'm not really interested in just buying things and letting them sit there. What I do like to do is to get people at it, encourage them." An acquisition in music publishing might be a way to go, Jagger hints. If Jagger is all business, Richards, who grew up poor, still feels a bit awed by the Stones' wealth. "All this vast amount of money is generated by sitting down with this little wooden instrument," Richards says dreamily. "It's not like selling baked beans." You don't have a factory to make rock 'n' roll. --------------------SFJ-------------------- From: DDesaul276@aol.com Subject: Could you walk on water The new release of the above will be reviewed in the next issue of the STICKY FINGERS JOURNAL. In the mean time, does anyone already have this CD? Would you recommend it? What is the quality, soundboard ? I am really interested in adding this to my collection. What do you think? --------------------SFJ-------------------- From: DDesaul276@aol.com Subject: Start Me Up A DJ on a Boston radio station recently said that the song "Start Me Up" was originally a raggey song. The Stones made 23 recordings of the song, only one was a rock version. They finally decided to release the rock version. Is this true? What happened to the other versions? Has anybody heard the other versions? On what CD? " If it's a slow song, we'll omit it. If it's a rocker, that'll get it. Come on Queenie, let's get with it!" --------------------SFJ-------------------- From: Sam Miller > Subject: please post in next journal Thanks I have the following CDs for sale. All are original CDs and NOT Cd-rs Vancouver First NIght (off beat records) Time Trip Vols 1 and 2 (SIAE records) Get your Leeds Lungs OUt (TSP) Kleins Revenge ( MIdnight Beat) Phoenix 69 (VGP) Please email samuel-miller@excite.com if interested. Also looking for scarce 72 Tour memorabilia to trade for Ethan Russel original signed prints. Thanks --------------------SFJ-------------------- From: Tom Ryan > Subject: Readers Digest Box SFJ 755 In SFJ 755 Jan asked: "Can anybody give me more info about a 10 album box called "ROLLINGSTONES GOLDEN ALBUM" (actually it says R.S. album golden" on the front). 10Albums on Lyou Fang records, obviously released for the Chinese / Taiwanesemarket, as the text on the box is as well in English as in Chinese / Taiwanese,at least that's what I think it is..... same on the album labels. The box contains "STICKY FINGERS" / "12 x5" / "STONE AGE" / "GET YERYA-YA'S OUT" / "LET IT BLEED" / "THEIR SATANIC MAJESTIES REQUEST" / "FLOWERS" /"BIG HITS (HIGH TIDE AND GREEN GRASS)" / "AFTERMATH" and "THROUGH THE PASTDARKLY". Sounds like you have a Taiwanese rip off of Stones original recordings. NT are New Taiwan Dollars (30 NT/ 1 US$). Taiwan doesn't/didn't recognize copyright laws so would just make copies and sell them in Taiwan. The vinyl versions were usually of very poor quality and didn't last for more than 10 plays before they got very scratchy. We would use the LP to make a tape, knowing that the record itself wouldn't last. I don't know if their cds are of better quality. ===== T.E. Ryan San Rafael, Ca. --------------------SFJ-------------------- From: "Dennis K. Walikainen" > Subject: Chapel Hill Can anyone recommend a good Stones-type bar in this far city? Please E-me directly wally --------------------SFJ-------------------- From: "steve popichak" > Subject: 60's TV appearances For Sale : Original CD ("London, New York, Los Angeles" on Goldtone label) containing 25 live soundboard tracks of 1964-67 Stones television appearances on Ready Steady Go, Ed Sullivan, and TAMI shows. Email for more info. --------------------SFJ-------------------- From: "Juan Manuel Bousiguez" > Subject: Question I want to know in which boot-album does Keef sings all Voodoo Lounge Stuff. Thanks JMB --------------------SFJ-------------------- From: Peter De Vreese > Subject: Original TSP for sale hello, i have an orginal 3 cd box of TSP, live at the Atlantic Convention Centre 19-12-89, mint condition, fm radio broadcast , sound rating IMHO 10; Will only sell , not trade. serious offers welcome at following mail address : partsbe.rb91675@memo.volvo.se this is my working address and therfor i check this all the time. offer will stand untill 14-01 at 1700 local Belgium time please note a 10 dollar charge for shipping to wherever; i only have one spare box , so.. cheers Peter --------------------SFJ-------------------- From: "mark garson" > Subject: looking for 1989 Raleigh, NC show Hello Anybody have the show with Dead Flowers and would like to trade cdr or cassette? thanks Mark --------------------SFJ-------------------- From: "Ray McEntee" > Subject: CDR traders wanted Hi SFJ 'ers I recently got a CD recorder and I'm looking for some new friends to trade CDR's with. I have approx 100 titles available on CD/CDR for trade (many more on tape). Please contact me at mcent717@frontiernet.net for my complete list. Thanks Ray --------------------SFJ-------------------- From: "Craig Abruzzese" > Subject: Hey Guys, I am in dire need of two shows. European Tour-Keil 1976 and Luxury in Boston (1975). My copies have seemed to disappear. If anyone would be interested in a cdr trade I have a good portion of stuff to trade for these two titles. Please E-mail me at Moonlight_Mile@hotmail.com ! Thanks! Craig --------------------SFJ-------------------- From: marcmarcus_1009@yahoo.com Subject: Jade Jagger JADE Jagger has broken up with her model boyfriend. Mick and Bianca Jagger's jewelry-designing daughter just called it quits with Dan Macmillan, heir to a $480 million publishing fortune, after 18 months. Macmillan, 24, the great-grandson of former prime minister Harold Macmillan, left Jade with the couple's house in Notting Hill, where she'll continue to live with their daughters, Assisi, 7, and Amber, 4, the London Sun reports. The parting is said to be amicable. Jade, 28, is being comforted by close pal Kate Moss. --------------------SFJ-------------------- From: Philip Stanley > Subject: Mick Taylor with Mayall While Mick Taylor did some fine work with John Mayall, and of course became famous for his stint with the Stones, I laughed when I read Dave Thompsons review of a newly released Mayall history where he claims Taylor as an equal to Peter Green. I think this is absurd when you consider the prodigious output from Peter Green during the mid to late 60's. As a blues guitar player the guy was second to none for a white guy. I haven't heard anyone in years get that sound and feeling out of guitar. Throw in the vocals and writing skills and you have the full package. Mick Taylor has done some great quitar work over the years, but he hasn't equaled Green or passed him in my eyes. I hope he proves me wrong some day. Phil --------------------SFJ-------------------- From: KurtKleiner@t-online.de (Kurt Kleiner) Subject: For sale: 1989 CDs Have the following 2 CD sets for sale, all are Original CDs, no CD-Rs: - Texas Rangers (CHAM 2-9400), live in Dallas, Cotton Bowl, November 11, 1989, soundboard recording Euro/$ 30 - Wisconsin Flat (Shaved Discs TSD 007/8), live in East Troy, Alpine Valley, September 9, 1989, soundboard recording Euro/$ 40 - Get Back To Los Angeles (VGP-087), live in Los Angeles, Memorial Coliseum, October 19, 1989, soundboard recording Euro/$ 40 --------------------SFJ-------------------- From: "Pierre CHEMEL" > Subject: GRANDE FINALE, COLOGNE GERMANY Subject: GRANDE FINALE, COLOGNE GERMANY Hi SFJ'ers, I'm loking for a CDR copie (or an original) of GRANDE FINALE / VGP 227 / COLOGNE GERMANY. I can trade it or buy it. Pierre --------------------SFJ-------------------- From: Fred > Subject: New Charity Single - It's only rock and roll You can listen to It's only rock and roll on a Dutch broadcast site called the Cyber Top 50, address: It's on number 36 It's Only Rock And Roll by Various Artists, you'd better hurry because it's going down........ Fred - It's only rock 'n roll........................................... Rolling Stones : ~http://leden.tref.nl/~jongefrd/rs.htm ++++++++++++++++++++++++++++++++SFJ++++++++++++++++++++++++++++++++++ WELCOME TO THE STICKY FINGERS JOURNAL Welcome to the Sticky Fingers Journal. Thank you for subscribing. The Journal gives us Rolling Stones fans a place and opportunity to interact with other Stones fans world-wide. We hope to learn more about our favorite group, the Rolling Stones, share some of what we know, and make many new friends. We gladly accept all posts that are Rolling Stones related. 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