_______________________________________________________________ Issue 757 -- Friday, January 14, 2000 _________________________ STICKY FINGERS JOURNAL _________________________ e-mail: SFJ@StickyFingersJournal.com web site: http//www:StickyFingersJournal.com --------------------SFJ-------------------- From: "Flashpoint" > Subject: Lyrics: Let It Loose Let It Loose (Jagger/Richards) Who's that woman on your arm all dressed up to do you harm? And I'm hip to what she'll do, give her just about a month or two. Bit off more than I can chew and I knew what it was leading to, some things, well, I can't refuse, one of them, one of them the bedroom blues. She delivers right on time, I can't resist a corny line, but take the shine right off you shoes, carryin', carryin' the bedroom blues. Oo... In the bar you're getting drunk, I ain't in love, I ain't in luck. Hide the switch and shut the light, let it all come down tonight. Maybe your friends think I'm just a stranger, some face you'll never see no more. Let it all come down tonight. Keep those tears hid out of sight, let it loose, let it all come down. ***** FLASHPOINT --------------------SFJ-------------------- From: Dedalus04@aol.com Subject: Could You Walk On Water > From: DDesaul276@aol.com > Subject: Could you walk on water > does anyone already have this CD? Would you recommend it? > What is the quality, soundboard ? As of right now, Could You Walk On Water has not been released. You can checkout the webpage with tracklistings at: t-a --------------------SFJ-------------------- From: "Promotone" > Subject: New York 1994 Official Video (Voodoo Lounge) I once saw a New York 1994 Official Video (Voodoo Lounge) in Best Buy . I went back the next day with the cash an it was gone. It said something like "official tour video". Anyone Know of this? Also are their any AC1989 DVD or VHS Around in High Quality. My original Pay-Per_View Copy has seen much better days. Thanks, Promotone@fast.net --------------------SFJ-------------------- From: Bajo Philip > Subject: Re: 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? COULD YOU WALK ON THE WATER is definitely one of the great collector CDs. The quality may leave a little to wish for here and there, but most of the tracks appeared here for the first time. Now of course I'm interested to know if the new release has the same tracks in better quality. Here's the CYWOTW track list with all credits and recording data, taken from the original CD-cover then updated/corrected with the help of Felix Aeppli (author of the "Ultuimate Guide"). SAVE ME (Jagger/Richards) Dynamic Sound Studios, Jamaica - Dec 1972 - 4:16 WAITING ON "MY" FRIEND (Jagger/Richards) Dynamic Sound Studios, Jamaica - Dec 1972 - 4:11 TOPS (Jagger/Richards) Dynamic Sound Studios, Jamaica - Dec 1972 - 4:40 YOU SHOULD HAVE SEEN HER ASS (Jagger/Richards) Olympic Sound Studios, London - Oct 1970 - 4:14 FAST TALKING (Jagger/Richards) Dynamic Sound Studios, Jamaica - Dec 1972 - 6:23 SLOW DOWN AND STOP (Jagger/Richards) Musicland Studios, Munich - Nov 1973 - 3:04 WIND CALL (Jagger/Richards) Musicland Studios, Munich - Dec 1974 - 3:27 SHAME SHAME SHAME (Reed) RS-Mobile, Rotterdam - Jan-Feb 1975 - 2:44 ACT TOGETHER (Jagger/Richards) RS-Mobile, Rotterdam - Jan-Feb 1975 - 4:08 I GOT A LETTER (Jagger/Richards) RS-Mobile, Rotterdam - Jan-Feb 1975 - 4:27 ENGLISH ROSE (Jagger/Richards) RS-Mobile, Rotterdam - Jan-Feb 1975 - 1:08 MAN EATING WOMAN (Jagger/Richards) RS-Mobile, Rotterdam - Jan-Feb 1975 - 3:04 BROWN LEAVES (Jagger/Richards) Pathé-Marconi Studios, Paris - Jan-March 1978 1:50 LIGHT UP (Jagger/Richards) Pathé-Marconi Studios, Paris - Jan-March 1978 - 4:45 GUESS I SHOULD KNOW (Jagger/Richards) Dynamic Sound Studios, Jamaica - Dec 1972 - 4:06 IT'S COLD DOWN THERE (Jagger/Richards) Compass Point Studios, Nassau - Jan-Feb 1979 - 3:31 philip.bajo@stones.com --------------------SFJ-------------------- From: Michael Cronström > Subject: IORR CD single & Voodoo boots >There are **TWO** "pressings" of the CD Single. >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) My version has the following track list: 1. Single version 4:49 2. Shaft's Radio Mix 3:42 3. Arthur Baker and Rennie Pilgrem's Rawkin' Roll Mix 3:47 4. Video 4:49 It has the number 156 600-2 and was recieved as a promo from the record company (unfortunately doesn't say "promo" on cover or disc). So there seems to be 3 versions on the market. >I want to know in which boot-album does Keef sings all Voodoo Lounge Stuff. Voodoo Stew (esp. Disc 1) has versions of most of the VL stuff sung by Keith. Voodoo Brew also contains many Keith vocals (among others a version of the Beatles "Please Please Me"!). "Collect 'em all" Michael --------------------SFJ-------------------- From: Mario.Dunn@dixons.co.uk Subject: Stones new from England The major article below is printed in today's 'Independent' newpaper in the UK with a couple of good photo's including one of the great man - I have a couple of copies which I will send to you if you would like - first come first serve It's only West Wittering, but Keef likes it A very English dispute featuring a rock star, his neighbour, some bats and a prime slice of Sussex countryside by David Thomas 13 January 2000 The story of Redlands Lane is one that's become all-too familiar right across southern England's overcrowded countryside, where prime land on which to build is at an ever-increasing premium. Few such stories, however, can claim to feature "The World's Most Elegantly Wasted Human Being" in a starring role. A pair of developers called Daniel Boyall and Michael Perkins are hoping to put up a house on a small, unprepossessing patch of woodland, just six-tenths of an acre in size, outside West Wittering on the West Sussex coast, a few miles south of Chichester. They've cleared the site of much of its undergrowth and now they're applying for vehicle access - in order, they say, to trim and remove dead wood. The locals, seeing this as the first step in the building process, are up in arms, determined to stop them. Leading the battle is a 72-year-old retired Texaco executive called Peter Dawson. An affable stalwart of the Neighbourhood Watch, Mr Dawson has traced the history of the land back to its origins as part of West Wittering Common. He's investigated its ecology, bringing in the Countryside Management Consultancy to write a special report. He's invited the chairman of the Sussex Bat Group to bring his bat-detector to check on the local population. He's even fashioned a home-made sextant to measure the height of the trees on the site, thereby enabling him to work out the spread of their roots (which spread as wide as the trees are high) across the area that might be built upon. Ranged against him is 28-year-old Daniel Boyall, joint owner of the wood, who exudes righteous indignation at the way in which his efforts at legitimate development have been portrayed in the media. He points out that planning permission for two houses on the site was actually granted, but lapsed, back in the Fifties. He says that he and his partner have complied with the Tree Preservation Orders placed on seven of the finest trees on the site. And, he adds, one of the seven was actually planted by Peter Dawson. "He's walked on someone else's land and planted that tree. He's trespassed. But no one's pointed that out." None of which would be of any interest to anyone outside West Wittering, were in not for Mr Dawson's next-door neighbour. Redlands Lane leads to "Redlands", the thatched and moated Elizabethan farmhouse that Keith Richards, the Rolling Stones guitarist, has owned since 1966. The house, though charming, is not particularly grand, but for connoisseurs of Sixties mythology it is a vital site. For it was at Redlands, on the evening of 12 February 1967, that the police busted Keith Richards, Mick Jagger and a number of their friends, all of whom were tripping on LSD. And it was then, so the story goes, that the cops famously found Marianne Faithfull in a compromising position with a Mars bar. "According to Keith, that legend's completely untrue," says Mr Dawson, as we stand outside Redlands, looking down the drive - lined with newly-planted lime trees - along which the fuzz must have charged en route to the bust. At which point one might be tempted to wonder, why is this man worrying about a couple of blokes who want to build a cottage when he's got the godfather of rock excess - a gun-toting, smack-taking guitar god, famed for staying awake for days, even weeks , at a time - living at the end of his garden? To your average retired executive, that must surely constitute the neighbour from hell. But not to Mr Dawson. "Keith is seldom here, but he's a great guy. He's so low-key. Fame hasn't gone to his head in the slightest way. And his family are super. " Sure enough, Richards has joined in the fight to preserve the Redlands Lane wood. "He's involved as a friend and a neighbour," says Mr Dawson, "although all the actual objections are handled for him by his agent." The admiration is mutual. When I interviewed Richards recently, he told me that, "Peter's got the house before mine. When I'm not there, sometimes for months and sometimes years, he keeps his eyes out for me. And he's a local historian. Over the years he's given me interesting snippets of information about my own house. He's amazing, and he really does care about the place." Although Richards may spend most of his time in Connecticut, he claims Redlands as his real home. He calls West Wittering "God's little acre" and adds, "I love that village. They've always been smooth with me." So when, in the autumn of 1998, the Stones' gigantic "Bridges to Babylon" tour came juddering to its conclusion, it was to Redlands that Richards retired to recover. With him went one of the musicians from the Wingless Angels, the Jamaican group with whom he had just made a CD. "Brother Neville lives at my house in Jamaica and he's a heavy-duty Rasta," said Richards. "This was the first time he'd been anywhere else in the world, but when he got to West Wittering he became a local immediately. He'd spend his days riding a bike, with his dreadlocks flowing behind him. I guess the locals all figured, it must be one of Keith's..." It was while Richards and Neville were hanging out at Redlands that Peter Dawson came to have a chat about the West Wittering Memorial Hall, which was in need of renovation. As Mr Dawson recalls, "I went along with a bit of paper, asking for contributions to the village hall appeal - we had wanted £60,000, but it had gone up to £80,000 - and Keith was in the garden. He said, 'OK Pete, I'm on the case. I'll give it some thought and come back to you.' "Well, my wife Joan and I had been invited to drinks with Keith. When we went round he said, 'I see from your note that you've upped the ante. So I thought I'd give you the extra 20 grand, and another 10 so you can paint the place.' " The tale of how Keith Richards gave £30,000 for his local village hall became an instant local legend. But the man himself was typically unfazed by the whole affair. "When they said the village hall needed renovating and that there was a little bit of a shortfall, I thought, here we go, they're going to hit me for quarter of a million or something. But it was only 30 grand. I said, 'Are you kidding? Here ...' I was glad to put something back into the village because I've been there for 33 years, which makes me a local." Perhaps the most remarkable aspect of that entire story is not that Richards would write out a large cheque - he's got an estimated £120m fortune, after all - but that he would invite his septuagenarian neighbours over for a drink. Can you get a sweet sherry at Redlands? Mr Dawson laughs: "You can get anything you want." Pete and Keith must make a wonderful sight. The one stocky, ruddy-cheeked and dressed in countryman's clothes, the other a scrawny musician, with silver braids hanging from his blue-dyed hair, and a voice as slurred as The Fast Show's Rowley Birkin QC. But perhaps the reason they get on so well is that there are times when Keith Richards the human being is only too happy to get rid of Keef, the legendary rocker. "I don't want to sound ungrateful," he told me, "but that image can be like a ball and chain: 'I'm Keef and I'm stoned out of my mind all the time.' Personally, I only think about being him if someone says something like, 'Let's go and see a movie'. Then I'm reminded that I am Keith Richards and that I can't enjoy the movie because I'm trapped, looking for the exit signs, and waiting for someone to go, 'It's him, it's him'. So I'm ruining the show for everyone who's paid money. Now and again, I try to enlighten people that there is another side to it all. At home I'm 'Dad', or 'Darling', or quite often, 'You asshole'." Back in Connecticut, Richards' two daughters, Theodora and Alexandra, have just hit their teens. "You go out on the road for a couple of months, come back, and suddenly Jayne Mansfield's standing there and you're tripping over training bras. Let me tell you, that can kill you. They just fling them anywhere." Indeed, the girls' 56-year-old father's sole concession to the rock lifestyle, when at home with the kids, is his inability to rise before mid-afternoon. "I don't see the kids when I get up because they're at school. By the time they get back, I'm semi-conscious and making my breakfast. They really love my fry-ups, so I always make twice as much as I really need because I know they'll go, 'Da-a-ad, can I have a bit of that?' "I'm like any old dad. I take the dog for a walk, light the fire. Then it's: 'Hello darling, would you like a cup of tea? What do you want for dinner? When do you want to eat?' You know, the usual, and that's a pleasure for me." It's a charming image of middle-aged contentment. But one should not be entirely taken in. Dr Richards may be in charge of the asylum, but Mr Keef still lurks within. Personally, I would not want to be the property developer with whom Keef picked a fight. As matters stand, Daniel Boyall is still waiting to discover whether he will be allowed vehicle access to his own land. Meanwhile he sits in his little office in East Wittering, fending off the press. Obviously he knew that Richards lived at the end of Redlands Lane, but who could have foreseen it would ever come to this? "We haven't even applied for planning permission yet," he pleads in mitigation. Then he sighs. "There are easier ways to make money. Property dealing's not my main profession." And perhaps, all things considered, that's the way it should stay. --------------------SFJ-------------------- From: "Dr. Riff" > Subject: ...and the blue light was my blues Lots of interest on my post concerning the newest Stones Of Fire CD "1972 US Tour" - New Mexico. A pal in Nagoya notes me the sound quality is not good and rates around 5/6 at best. "Thats being kind Doc..the average fan will only listen to these discs once or twice" And so it goes, another lost chapter from my alltime favorite tour. Many thanks to Sasha. Dr. Riff --------------------SFJ-------------------- From: "Mike,Christine,Mitchell&Grace" > Subject: IORR Single Hi All from New Zealand Just scored a copy of the IORR single today and I remembered that in a recent journal someone saying they can't get a copy (or hadn't been released yet) Well if anyone would like a copy just e-mail me and i'll try and get one for you as they still have them down in this remote part of the world !! The cost of the cd is $10.95 in NZ dollars (around $6US) and whatever the postage is. Or a trade if you want.. About the single, ther are three different mixes, total time just over 12 minutes and the video (runs on quiktime AND yes it DOES work) only small parts for Mick and Keith and the backing band on the tracks are well ....not that well known. Artists to perform on the track are Kid Rock Chrissie Hynde,James Brown,Ossy Osbourne,Joe Cocker,BB King and the Spice Girls ???!!!! to name a few. Well as I said if anyone wants a copy let me know Michael --------------------SFJ-------------------- From: marcmarcus_1009@yahoo.com Subject: Newsgrou stuff From: nospam@nospam.net (Filthy McNasty) Posted via Supernews, Why was Brian Jones forced out of the band? And why did Mick Taylor split from the band? then... From: "Mel Cicero" > brian was'nt really "forced" - it was half and half from where i see it really. andrew oldham and mick did not exactly nake it easy for brian remaining in the stones they wanted him out from early on. - they took a paranoid guy on too many drugs and made it about ten times worse, but that said it was half jones's fault at least, for being a complete fuck up by about 67/68, taking way more than he could handle and was good for him, im sure youve heard the stories where he was completely out of it at the studio, and even when he did try and play they just unplugged him (apparently..) im sure others will put a different line on it - this is just what i can glean from the sources ive read. then.... From: phil > as soon as Mick & Keith started writting songs together he felt threatened, & being the insecure person he was rather than trying to reassert his personality back in the band, he chose to get as wasted as possible & hope that the problem would go away which it didn't, of course as soon as Anita took up with Keith (which again was due to Brian's drug induced paranoia) that was it, a very sad story. Brain was a fine musician, but way to insecure to handle the pressures of fame & he burned out. then... From: Greg > I agree with what Mel c says except for the part about Mick Jagger wanting Brian out of the band from early on. I don't believe that for a minute. I mean why would he want Brian out from early on? Because they were competing for the girls attention on stage? Or because Bill Wyman says so in his book? I learned a long time ago that you can't believe everything you read. In my opinion, the start of the decline of Brian Jones was the creation of the Jagger & Richards song writing team. I believe Mick wanted him out, but not until later. let's not forget Keith's role in this. If you say Mick and Andrew Oldham wanted him out. What about Keith? Keith even stole his woman later on, when Brian was obviously having a rough time. It was an unfortunate time in the bands history, but things like that happen when people are thrust into stardom. As for Mick Taylor. I agree with what Mel c said, except that maybe the drugs were also a contributing factor. However the main reason was probably not enough musical respect. He helped write a few tunes, but never got credit for it. Just thought I'd share my thoughts on the subject. Greg then... From: wildeyes33@aol.com (WildEyes33) Didn't Mick Jagger fired Brian because of him being unstable,and being under influence of Drugs & alcohcol?..Mick Taylor on the other hand wanted to start his own band,which unforunately i don't know Taylor that well.. then... From: Strat-57@webtv.net (Stephen Fowler) Brian was a vegetable musically by 1969 and couldn't get clearance to tour in the US because of drug troubles. Stanley Booth, who has written about this period told me once that getting anything from Brian was impossible after Keith nicked Anita. As for Mick Taylor his attempts at the lifestyle of the Stones was a disaster and was upset over the lack of credit for his contributions to the band, especially monetary credit. It is painfully obvious his decision was the wrong one...being even a less than full band member is better than not being one at all. then... From: bbaurkot@aol.com (Bbaurkot) I read an interview with Keith where he said that to this day, if he asks Mick Taylor why he left the band, he answers with "I don't know." I'm not sure if Keith was implying that Mick Taylor regretted his decision or not. then... From: "D.G. Devin" > Mel Cicero wrote in message <85f4dc$hof$1@newsg4.svr.pol.co.uk >... >brian was'nt really "forced" - it was half and half from where i see it >really. The new book on EOMS has some interesting stuff on this, it sounds like there was a back and forth power struggle in the band for some time, with everyone taking turns being the odd man out. But once Mick and Keith started writing their own material together the balance of power permanently shifted against Brian. > but that >said it was half jones's fault at least, for being a complete fuck up by >about 67/68, taking way more than he could handle and was good for him It does seem that despite the politics, Brian's drug abuse had made him largely useless as a muscian, both as a player and someone whose legal difficulties would have made it hard for the band to tour. >apparently >one day while playing time waits for no-one in the studio he just couldnt >stand the attitude to his playing and put down his guitar, left, and didnt >come back. i dont know how true this is but its on the mick taylor >homepage. Presumably he didn't announce his departure until some time later, as Woody has said he was present (at some club) when Jagger announced (in shock and dismay) that Taylor had left the band, Woody says Jagger was stunned by the news. The EOMS book also goes into the harrassment Taylor suffered (although he was not the only victim) at Jagger's hands, how much truth there is to it will be in the eye of the beholder. Interesting side note, in a recent interview Taylor says Jagger carried most of the load on Sticky Fingers, even playing most of the rhythm guitar. On the other hand, it appears to be Keith who did most of the work on EOMS, it is his album more than anyone's. then... From: "rrcrumb" > >Presumably he didn't announce his departure until some time later, as Woody >has said he was present (at some club) when Jagger announced (in shock and >dismay) that Taylor had left the band, Uh huh.... awright...what BS! Well he should have shown Mick Taylor the money. As in giving deserved song writing credits to Mick T. God knows Mick T. could use the money now. >Woody says Jagger was stunned by the >news. The EOMS book also goes into the harrassment Taylor suffered >(although he was not the only victim) at Jagger's hands, how much truth >there is to it will be in the eye of the beholder. and... It is moonlight a light, a glow... that extends a mile, that shines on..... a fabulous notion. Jill C. --------------------SFJ-------------------- From: free_the_stones@stones.com Subject: Article: Mick Taylor: TIME TO MOVE ON Rolling Stone magazine JANUARY 30, 1975 Mick Taylor: TIME TO MOVE ON By VINCENT MC ARRY LONDON-The day after Mick Taylor announced he was quitting the Rolling Stones, a telegram arrived for him from Munich. It was from Keith Richard. REALLY ENJOYED PLAYING WITH YOU FOR THE LAST FIVE YEARS. THANKS FOR ALL THE TURN ONS. BEST WISHES AND LOVE. "Mick just read it and started crying," said Taylor's wife Rosie at their London home. Taylor himself said: "It was a really nice telegram, it really got to me. And what it says completely reflects how I feel about them." So why did he quit? "I'd worked with them in such a way, and for so long, that I didn't think I could go much further without some different musicians," Taylor said. "So when this chance with Jack Bruce came up, well, I wanted to be with him. I'd known for several months that Jack wanted to put together a new band. We'd played a lot together lately, and we'd really hit it off well. It was all for purely musical reasons. There was no personal animosity in the split. There was no row, no quibbling or squabbling." About an hour after Taylor's statement came out, Jagger phoned from Munich, where the rest of the Stones had been working for five days on their next album. "I'm sorry to see him go, but I think people should be free to do what they want to do," Jagger said. "I mean it's not the army, it's just a sort of rock & roll band. It's very hard for me to explain exactly why he quit. I'm not Mick, so it's difficult for me to explain his personal reasons. But when we went to Eric Clapton's concert at Hammersmith [London] last week, and to the party at Robert Stigwood's afterwards, Mick and I talked. He just said he'd played with us for five years, and he felt he wanted to play some different kind of music. So I said, 'That's okay, that's fine,' and that was that. We were due to return to Munich about two or three days later to start recording, so I didn't really have much time to talk to him. But we did have a couple of hours. There wasn't any kind of raw or anything." There may not have been a row, but there certainly was a mad flurry of upper- echelon activity when Taylor told the group that he wasn't going to attend the Munich sessions. "The main thing everybody was pissed off about," said a friend of Taylor, "was that the Stones were supposed to be recording and planning a huge world tour. All of a sudden they find they're going to be without one guitarist. And they admit it's going to be hard to replace him. I assume the word came down from Ahmet Ertegun [chairman of the board at Atlantic Records, which distributes the Stones' records] to try to get Mick to stay. Marshall Chess [head of Rolling Stones Records] came to London and started chasing Mick around, trying to find him, by phone, by foot, by car." But Taylor had already gone into hiding. Stones publicists had difficully trying to locate him, to issue a statement. And as soon as the statement appeared, the music biz came alive with all kinds of explanations-a row between Jagger/Richard and Taylor . . . money problems. There was talk that the break had come because Taylor hadn't been getting enough credit for cowriting tracks- with subsequent loss of royalties. Denials quickly came from Jagger and Rosie Taylor. Then Taylor himself angrily denied the stories in a phone interview. "I'm very disturbed by those rumors ... it had absolutely nothing to do with those things. I'm very upset about it, because I really like the guys in the Stones," be said. "I've really loved working with them for the past five years-we've had some really great times. And I'd like to work with them again. But how are they going to feel if they open a paper somewhere and see something completely wrong, making all sorts of claims and sounding as if it comes from me? Nothing could be further from the truth. "I think the rumors were started by an interview I did in a trade paper, but the things I said were taken out of context. And I never wanted the things I said written, reported or repeated. Whatever I felt about credits on songs has nothing to do with my decision to leave. If Mick or Keith ever want to do solo albums, I'd really like to be in on them. And that's especially why I want these rumors killed, because I don't want my friendship with the Stones jeopardized, or anything I may do with them later." Rosie is just as adamant, but she hints at disenchantment over credits. "Mick is a musical person . . . it was just a question of having musical acknowledgement. If you know him or have anything to do with him, you know that he doesn't think of the money at all like that. It was the last thing on his mind. Sure the credits appear as Jagger/Richard, because it's always been the case. They've done by far most of the Stones' writing." The departure of Taylor leaves a huge gap in the Stones' lineup. In the five years since he left John Mayall to replace the late Brian Jones, Taylor has helped move the Stones' music away from the basic raunch and roll of their early years. They've become more adventurous, with Taylor's pure soaring solos filling cracks and adding a final gloss to tracks. Said Jagger of Taylor: "He added some very beautiful solos to our music and brought some really nice musical ideas to the group. On the last album, I think the best thing he did was 'Time Waits for No One."' But Jagger maintained that his departure "just means we're missing one guitar player, which we'll no doubt find." Jagger offered no names or dates for a replacement. "At the moment," he said, "we're not really looking for anyone in the really hot sense of the word, because we're recording, you know?" Jagger thinks the Stones in the studio without Taylor will still be the Stones. "Oh yeah, of course. We recorded about three albums with the same people we're using now. Like Let It Bleed ... And Mick was in on only half of the last sessions in Munich, for It's Only Rock 'n Roll, because he was in the hospital. We had two sessions and he didn't come to the first one. So it's not really any great difficulty." Jagger knocks down any suggestions that Taylor never really fit into the band - considering he was the only nonoriginal member. "Living with someone like that for five years, being with them so much, makes you very close to them. So, as far as we were concerned, he was just as close as anyone else in the band. There's no question of his being frozen out of the group or anything like that. Five-and-a-half years is a long time to spend with one band, especially these days, I think. And people talk about him not having a kind of Stones image. I think it's only Keith and me to a certain extent, who have what you'd call that kind of image. I don't think you'll find Charlie is a kind of mad gadabout, or Bill. Mick and I used to get on very well, and we used to go around a lot together. I think it's just that he has a lot of ideas and he wants to try them out. And I hope he does. "I don't want to say goodbye to him. I hope I can work with him again. If I do something on my own, I'd like to have Mick along to play, you know? We've already talked about this, the other day. Maybe I'll work with him again, quite soon I hope. "I don't know really how this break will affect us. I never have known how long we're going to go on. I just can't really say. I mean, we won't go on forever! We have various ideas for solo efforts. Id like to try something like that, maybe films, you know? But I seem to get so involved with the band and I'm so lazy, that I never find time." Where do the Stones head from here? "We have got American dates coming up about May, and we'll be touring extensively next spring. Mick's departure doesn't really affect the plans, by then we'll probably have a new man anyway. We'll be announcing the exact dates fairly soon, I think." Mick Taylor-normally an intensely shy person-almost bubbles with enthusiasm when talking about the new band with Bruce. Other members announced so far are the American composer and keyboards player Carla Bley and piano player Max Middleton, who used to be with Jeff Beck. A drummer has yet to be found. "The first sessions Jack and I did together, and everything since, have been really inspiring. I just couldn't believe that we could have what we did, together," he said. Taylor had been kicking ideas around and playing in the studios with Bruce for a couple of weeks, and the magic sparks struck there helped make up his mind. "He'd been thinking maybe it was time to move on, but he didn't know to what," Rosie said. "I don't think he realized how good he was, he'd really forgotten how well he could play. You can hear him on Stones tracks, playing fine music, but still not to the full extent he ran do it, not to the extent he used to. In fact, he told Jagger all about it - how well it was working with Bruce. And Mick Jagger said something to the effect that sometimes he wished he could just go and play with someone else. That's the really funny part of it." end --------------------SFJ-------------------- From: beat.friePress@gmx.de Subject: Re: SFJ 756 / c-blues I would suggest alternating lyrics on COCKSUCKER. In the 2nd verse, I presume: . on Leicester Square with a come-and-hither look in my eye. and . all I do is talk to the lion. ((That is a real one, made of stone)) Whoever can't take the campfire acc take on a daily basis - fingers turn to Toronto electric. ON the IORR: For a pick outta two, leave CD 1 w/ the video - rather go for CD2. We take'em both, huh? mark a. -- Sent through Global Message Exchange - --------------------SFJ-------------------- From: dvdt@club-internet.fr Subject: Artists of the 60's Hi, Vote for the favorite artists of the 60's ! (of course, the Rolling Stones...) Polls close at 1:00 PM ET on January 17. The winners will be announced during The 27th Annual American Music Awards on January 17 on ABC TV. D. --------------------SFJ-------------------- From: "dowisch" > Subject: Wayne Perkins check for his biographie. Willi --------------------SFJ-------------------- From: "Erwin & Lia" > Subject: Wanted I am looking for a CDR Copy with Artwork of "No expectations" on Morganfield MG-001 Have a lot of rare 72 performances to trade . Erwin J. Hoetjes --------------------SFJ-------------------- From: thomas e atkins > Subject: Does anyone know what ever happened to Micks 60's girlfriend Chrissie Shrimpton? Does anyone have a line on where to buy Dandelion direct or thru someone with a large catalog, some thing like VGP and cyberseekers? Tom in NC --------------------SFJ-------------------- From: "Merrigan Family" > Subject: 6/6/75 I am looking for a copy of the Stones at Arrowhead Stadium in Kansas City on 6/6/75. If anyone knows where I could locate this, please e-mail me privately. The reason it has to be this show is this: A younger friend of mine first saw the boys on the Voodoo Lounge tour in 1994. She was 19 at the time and really loved it, and has become quite a Stones fan. She went to B2B and No Security tours as well. This year she turns 25 on June 6. She was born on the day the Stones played the Arrowhead show, which was the third stop (fifth show) of the 75 Tour. I think a copy of this show (cassette or CD-R) would be a fabulous 25th Birthday gift. Sound quality is important, but not crucial. Can anyone help me fan the flames of one of the younger generation of Stones fans. I do have some items I could provide as trade. I shoore would 'preciate it Ken --------------------SFJ-------------------- From: rob shanahan > Subject: taylor fotos Hi John, Thanks for publishing the Mick Taylor/HOB fotos, it was a nice addition to a great article. Keep up the great work with SF mag/journal... Rob Shanahan 310-306-7279 p.s. we are currently working on our first cd, very exciting for us and very stones like, will send a copy upon completion....cheers --------------------SFJ-------------------- From: "mike" > (by way of Sticky Fingers Journal >) Subject: Pictures I am looking for pictures of the stones at the NO Security tour any pix ok especially the final bow. would be willing to pay for good pictures. mikezuendel@prodigy.net --------------------SFJ-------------------- From: Forrest Smith > Subject: lost horizons website Howdy folks, Not long ago someone out there was looking for the Lost Horizons website. I got in there today at: www.lost-horizons.com/ I hope this helps. adios, forrest --------------------SFJ-------------------- From: JS ENTERPRISE > Subject: HELP NEED HANDSOME GIRLS DISC #3 I am in desperate need of the Stones Boot "Handsome Girls" disk #3 Complete. My copy is missing the last song "Happy". Can you help? I have a large list to trade with go here: ++++++++++++++++++++++++++++++++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. So please chime in with your knowledge and experiences of the greatest Rock and Roll band in the world. If you have any news or questions about Rolling Stones related topics, send them at anytime. Please be aware that any message that you send to the Sticky Fingers Journal is subject to public posting. If you don't want a particular message posted, please write in the message "DO NOT POST". When posting to the Sticky Fingers Journal please send only the message that you want published in the Sticky Fingers Journal. Please do not press the reply button in your e-mail program and forward the entire old issue of SFJ. We are sorry but we don't have time to edit everyone's post. Send only the new message and only quotes from back issues if appropriate. Who wants Yesterday's Papers? Please do not use styled text or HTML Coding. Please send only TEXT (ASCII) messages. We only accept TEXT (ASCII) messages for publication. We do not accept attachments. Please send only TEXT (ASCII) messages. Any other formats or attachments will not reach SFJ. Bold print, fancy color and such may look good on your e-mail program but it will look like crap in SFJ! If you need help with this problem then please contact your ISP (Internet Service Provider), the people you pay for your Internet service. To subscribe to SFJ, send an e-mail to: SFJ@StickyFingersJournal.com in the subject write "subscribe" followed by your e-mail address. If you ever need to unsubscribe from SFJ, send an e-mail to SFJ, in the subject write: unsubscribe followed by your e-mail address. Thank you for being part of the Sticky Fingers Family! SFJ