__________________________________________________________________ Issue 759 -- Wednesday, January 19, 2000 _________________________ STICKY FINGERS JOURNAL _________________________ e-mail: SFJ@StickyFingersJournal.com web site: http//www:StickyFingersJournal.com --------------------SFJ-------------------- From: "Leanne M. Metzcus" > Subject: Tunnel Records Hello everyone. I had a problem that I wanted to run past my fellow Fingers. I ordered some cds from Tunnel Records over a year ago and never got them and never got my $225 back. I've written, called and even hired an attorney. Has anyone had luck getting a refund back from Tunnel? Please let me know. Any help would be appreciated. Thanks, Leanne --------------------SFJ-------------------- From: "john mazcko"> Subject: I am looking to buy a Bootleg from the No Security tour of 99' or the Shephards Bush Empire concert. However there are so many out there that I don't know which ones to get. I am interested in a well recorded album with Some Girls and You Got the Silver in good quality. However I also want fairly good performance as well. Are there any that are in as good of quality as the No Security Live album or any other live album from before. I am looking more for a recomendation than a bunch of offers but if you do want to offer it, I am looking for a CDR of the bootleg. John --------------------SFJ-------------------- From: Erin Prim > Subject: Stones Hi Everyone! Just letting my fellow Canadian fans know that the IORR single is available at Sam the Record Man stores. I got mine for $9.99 It has 3 versions plus the video. Also, on the cover of a London newspaper, it said that Mick would have been knighted Sir Mick Jagger if it wasn't for his affair with Luciana! --------------------SFJ-------------------- From: "Terhoeven, Remco" > Subject: Mick Ronson Tribute Hello, Can anybody tell me if the Mick Ronson Tribute in 1994 with (amongst others) Bill Wyman is available on tape or even what the setlist of that show was? Thanks in advance for any info on this tribute, Remco Terhoeven gimme_shelter@wish.net --------------------SFJ-------------------- From: "Teramura, Doug" > Subject: Mick Taylor in St. Louis on May 11 > From: Teramura, Doug > Subject: Mick Taylor at Generations on May 11 > > Mick Taylor is scheduled to play in St. Louis at Generations nightclub on > May 11th. An early show is at 7:30 pm (with a free hot appetizer buffet > beforehand), with a late show at 10:45 pm. Generations is inside the > Holiday Inn at Lindbergh and Watson (about 20 miles west of St. Louis, > just south of I-44 and east of 270). My guesstimate is that it holds ~200 > people. If you have tickets for both shows, you can stay inside the club > for the second show. > > Tickets are on sale now for $20 each, and can be purchased by sending a > check and SASE to Johnny Richard/ Elite Entertainment/ P. O. Box 664/ > Manchester, MO 63011. Please include information of which show you want > tickets for. Tickets orders will begin to be filled in early February. > > I plan on attending both shows! > > > Doug > Teramura (Doug.Teramura@mkg.com ) --------------------SFJ-------------------- From: Jaime Castaneda > Subject: New VGP Hello, 2 new VGP releases #1 Sweden 1990 #2 Jagger solo stuff from Osaka 88 Regards Jaime --------------------SFJ-------------------- From: free_the_stones@stones.com Subject: Article: 1975 Rolling Stone 75: Feels Good, Let's Do It Again By STEVE WEITZMAN For the record, 1975 is the Stones' sixth American tour. Their first three (1964, 1965, 1966) were spaced a year apart. Their next three (1969, 1972, 1975) marked three-year spans. To follow the mathematics, tours seven, eight and nine will be nine years apart, hitting us with comet-like regularity in the years 1984, 1993 and 2002, with the tour of 2002 being the first ever by a 60-year-old rock & roll band. Atlantic Records has been dropping hints that the Stones' tour this year might be "the last for quite some time," possibly in an attempt to enhance the band's mystique, in turn stimulating record sales. Immense record sales, sales paralleling the significance of the band, are something the Rolling Stones have never enjoyed. Sure, their concerts are always sold out and their albums are regularly certified gold, but there's that unrelenting legend to live up to. Ya- Ya's said it with a vengeance: "The greatest rock 'n' roll band in the world." But Chicago, John Denver and Olivia Newton-John dwarf the Stones on the charts. On the other hand, maybe Jagger had the inside when he sang "Ti- yime is on my side, yes it is," because time has proven the Stones to be what Ya- Ya's proclaimed: In longevity, overall contribution - and on a hot night in the flesh - the Stones endure. But not without a certain competitiveness and insecurity. In 1975 Jagger and company decided to converge upon Madison Square Garden for six sold- out shows. Why six? Quite possibly because the Who sold out a record five shows at the Garden in 1974. The Rolling Stones are here to set the record straight. Still, they have endured with their sense of humor intact: in evidence, the fact that the new tour did not begin in Baton Rouge, Louisiana, on June Ist (their original plan), but rather on Fifth Avenue and 9th Street in Manhattan, on the back of a flatbed truck one month earlier. Duped perfectly, the New York press corps was lured to a "Rolling Stones Press Conference" in a quiet residen tial hotel at noon. While the press eagerly gathered indoors cunningly eyeing a head table planted with microphones, the Stones rumbled down the avenue and stopped in front of the hotel to blitz out a ten-minute version of "Brown Sugar." Jagger, in sneakers, white socks and jeans with the cuffs turned up, bounded up and down to Watts's (fresh with his GI haircut) bass drum. Wyman stood firm, Keith and Ron Wood alternated leads, with Richard dealing the final blow while Billy Preston played out the evocation of a black Cheshire cat. Raunch and roll on Fifth Avenue. Prepared statements were tossed out to their audience of reporters and a few shocked passersby and the Stones rumbled further down the road, hopping neatly into awaiting limos. The idea, said tour manager Peter Rudge, came about when "we were just sitting around one night and we thought, 'Well, we don't want to answer a lot of silly questions,' so we thought, 'What can we do? And actually, it was Charlies idea. Charlie has lots of good ideas." Having endeared themselves to the critics with It's Only Rock and Roll clearly marking a Stones resurgence on record, this impromptu performance of "Brown Sugar" added luster to their Seventies image, which had taken a dive with their disappointing Goat's Head Soup, on which they sounded tired and, worse yet, bored. The magnitude -of their 1975 tour leaves no room for boredom. Spanning three months, the Stones are performing 58 times to an estimated 1.5 million people, at one stretch hitting the stage ten nights out of I I and marking their first shows in Mexico, Venezuela and Brazil. Ticket demands were expectedly astounding: 28,800 (for two shows) in San Francisco were snapped up in an hour and 48 minutes. With the entourage in New York making final preparations for the tour, Mick Jagger availed himself for an inter view. The initial purpose of the meeting was to give the Stones the opportunity to counter statements made by exmanager Allen Klein regarding an album of old Stones Material ABKCO released early this summer. The album, consisting of unreleased, original material, was presented to Klein by the Stones last spring in exchange for one million dollars in back royalty money. Jagger sees ABKCO's proposed release plans too coincidental for his liking, besides which, Jagger said, "I wasn't particularly happy about having to put it together. "See, we're coming in and we're going to tour here, right? And he's just trying to cash in. And he doesn't have anything new. Klein has nothing. All he has is a lot of old things. He doesn't have any new artists or new product. If he did, if he had new things going, if he was a current person, if he was a creative record company or something, then he wouldn't have to resort to this, you know? He'd be too involved with new things." Jagger did a sudden turnabout, replacing the bitterness in his voice with a measure of composure. "But we have to take life as it comes," he sighed. The Stones are also releasing an album to coincide with the tour. The 1972 tour album has been snarled in litigation but, Jagger said, "I think we're going to be able to put that out in September." During the years since that '72 tour, the Stones have rarely seen each other outside of recording sessions and brief tours of Australia, Hawaii, Nicaragua and Europe. Bill Wyman chose to become the first Stone to do a solo LP ("I don't want to play in the Stones for the rest of my life," he was quoted). And Keith Richard set aside time to play guitar and sing on Ron Wood's effort. Guitarist Wood, who has been friends with Richard since his days in the Small Faces, was almost his contemporary in the days of the Stones' beginnings, "when we were little green kids," cracked Jagger. It was Wood, in fact, who brought the Stones closer together during the last few months by being one of the leading candidates (and eventually getting the job) to replace departed Mick Taylor. During the auditions, names were being tossed around like frisbees but two in particular were authentically close at one point: Harvey Mandel and Wayne Perkins. Perkins, a session guitarist from Muscle Shoals, even got as far as being unofficially announced by the Stones' present manager, Marshall Chess. When it seemed on the verge of finality, Perkins was tracked down at Keith Richard's house in London where he was staying, but when we tried to arrange an interview with Wayne, Marshall Chess had received information to the contrary. "I think you better wait awhile," Chess explained in March. "There's somebody over there [in Germany] right now auditioning for the job." As it turned out, it was Wood. Jagger says Woody will accompany the Stones "for the tour. North America and South America." When the search was still on, Jagger said neither he nor Keith were any less involved in the decisions. "I think he had to please me and Keith both." When asked, "What ways should he p ease you an w at ways should he please Keith?" Jagger wrinkled up his nose. "That's a very weird question. I hadn't really thought about that. What ways should he please me ... well, I can sort of tell a good guitarist but probably Keith can tell better than me." When Marshall Chess first heard that Ron Wood was to be Taylor's replacement, he thought the choice was a good one because "Woody and Keith are both primarily known as brilliant rhythm guitarists. That allows a certain cross trading of riffs they've never had before." Jagger got a laugh out of the reference to Keith's "rhythm guitarist" role of late. "They can both play solo," he said. "I mean, Keith used to be a lead guitarist of the Rolling Stones, remember? Maybe Keith's gonna have to do more solos. Now he's gotten kind of into this rhythm guitar thing." As for what characteristics Jagger was looking for in a replacement guitarist, he explained, "I wanted someone that was easy to get on with, you know, that wasn't too difficult and that was a good player and was used to playing onstage (presumably Wayne Perkins's downfall). It's quite a lot to ask of someone to come and do a big American tour with a band like the Stones, you know? I mean, not that I think the Stones are any really big deal, but it tends to be a bit of a paralyzing experience for people. You know what I mean? And I wanted someone that wasn't going to be phased out." To the question of musical qualifications - writing ability, for example Jagger made a statement which could be interpreted to mean that Woody might stay on with the Stones instead of going back to the Faces: - Writing ability? Yeah, as a permanent thing. I've writ ten with Woody. So's Keith. Yeah, that's nice to add." Were vocals part of the decision? "Yeah, that's good to add too." How would you rate Woody? "He can sing . . . a little. He'll probably say a lot about thatf He can sing. He's starting to get it together. The first singing he did was his album." How about personality? Woody seems to fit the bill ... "Onstage he's got a lot of style.. And it's gotta be fun on the road. That's what it's all about, isn't it?" Jagger wasn't surprised at the widespread interest and rumors the auditions generated: "I kind of expected it. I mean, after a while, you know, like - - ,cause no one really believed what people had said. We just had to play with a lot of people, basically. It was just gonna take a long while before we knew what we were gonna do. So I expected after a while that it was gonna develop into a rumor market." The length of the process (five months) Jagger took for granted. "I knew it was going to be a bit of a problem," he noted, "'cause those things really do take time. It's not like employing a cook or something, you know what I mean? You've gotta have the guy ... you've gotta like him, as well as like the way he plays. And how can you know if you like him or not? it's even difficult to know how he really plays. It's really hard. It's tough going. Ask the Average White Band. They rehearsed a thousand fucking drummers, right?" When asked if Woody has familiarized himself with the Stones' material or did he already know a lot of it, Jagger remembered another factor which probably weighed in the decision. "Well he does know a lot of it. I mean, yeah, that's another thing. The person has to know the music . . . or like it, vaguely at least. It's better to know a few of the numbers." The entire month preceding the tour, according to Peter Rudge, was spent in preparation with "pretty well all of it" on rehearsals. "They rehearse a lot. Ten, 12 hours a day. They'll be putting their stage act together. That's the key to a good band, to get your stage act together and pace it." Jagger explained what he had been doing prior to rehearsals: "Well, actually, it's funny. I've been working mostly on posters and things. Artwork. Charlie and I have been working on our artwork. Been heavily into design. And stage design, lights and everything." Listening to any current music? "Yeah, I listen to everything"' Maybe it's a pose, the way the Stones always seem absorbed in the present, like a kid with crayons, oblivious to the pandemonium they create. It doesn't matter: Pose or not, it's their dedication to being "just a sort of rock ' and roll band" that makes them so much more. --------------------SFJ-------------------- From: irenepenney > Subject: CD'S TO BUY Hi, I'm looking for the following CD's (Original CD's) to buy: 1. Atlantic City 89'-Crystal Cat 2. Hampton 81' Dandelion / 20 Flight Rock Promopub 3.LA Friday 75' VGP 4.Happy Bithday Mick-MSG 72' Montserrat 5.Missing Links-Boss Hawg 6.Sweet Home Stockholm 98' Crystal Cat 7.Seventh of July Chameleon/ Wembley 90 Beech Martin 8.The Stars In The Sky Never Lie Midnite Beat Please E-mail me privately, Thanks, Jerry --------------------SFJ-------------------- From: dean_flanagan@prusec.com Subject: Beggar's Banquet Mentioned New York Times December 27, 1999 FILE IT UNDER LOGICAL CHAOS Rummaging Through Peter Schickele's Records By ALLAN KOZINN The room in Peter Schickele's Upper West Side apartment where he composes and listens to music, is in considerable disarray. LP's and CD's are stacked atop and beneath the Yamaha grand that takes up much of the space. Tapes, scores and more CD's cover his desk, and a handful of Grammy Awards for his P. D. Q. Bach albums are stashed haphazardly on a bookshelf. Mr. Schickele had an excuse.Having built his career on his passion for an unusually wide range of musical styles and an uncanny sense of how to combine them in entertaining and illuminating ways, he had been invited to discuss some of the recordings that he considered the best of the century, or -- why not? - the millennium. And he had been doing some preparatory rummaging, pulling albums from floor-to-ceiling shelves holding perhaps 4,000 discs, CD's making up the top two-thirds, with LP's at the bottom. "Actually," he protested, "I'd prefer to say they were my favorites,rather than 'the best.' I don't believe in absolute values of beauty." Still, it is not surprising that unruliness appears to be the room's natural state: Mr. Schickele's most famous creation -- P. D. Q., the fictional"last and least" of J. S. Bach's musical offspring -- is a study in chaos,meant to tweak the classical music world's pretensions with a balance of slapstick and sophisticated musicological parody. The stage persona that he adopts for his P. D. Q. Bach shows (his latest can be seen tonight and Wednesday at Carnegie Hall) is that of a studiedly disheveled academic,devoted to the study of P. D. Q.'s life and work. It would be unreasonable to expect anyone as busy as Mr.Schickele,64, to also keep a tidy work room. Besides writing works for his P.D.Q. Bach shows (this year's premiere is a string quartet called "The Moose," S. Y2K), he is a prolific composer of symphonic, chamber and vocal music. His recent works include a symphony, which the New York Philharmonic played last season; a set of chamber works that the Lark Quartet recorded; and a film score for Maurice Sendak's "Where the Wild Things Are." The omnivorous eclecticism that keeps the P. D. Q. shows lively informs these compositions as well. And that same spirit runs through "Schickele Mix," his radio show. Since 1992 he has recorded about 170 installments for Public Radio International. (In New York it runs on WNYC-FM,93.9, on Saturdays at 4 p.m.) Each has a theme, usually an exploration ofa musical form (sonatas, fugues, variations and marches, for example)or a technical aspect of composition, like rhythm, meter or how transitions work.A dry music-appreciation lecture is not Mr. Schickele's way. Taking the view that "if it sounds good, it is good" -- a notion he attributes to Duke Ellington -- he illustrates his points with suites in which he is likely to juxtapose a Mozart symphony movement, a Beatles song, a jazz piece by Gerry Mulligan, a 17th-century dance by Praetorius and an obscure cowboy ballad. It is the kind of playlist that makes a listener wonder what the host's record collection is like, and when asked for an annotated tour,with his favorite discs singled out, Mr. Schickele readily agreed. He also assembled a list of more than 60 favorites, adding several more during a conversation that was periodically interrupted for a sampling of the more obscure entries. Several choices have not yet been transferred to CD,but the assiduous disc hunter might find them in collectors'shops.One such rarity, the officiously titled "Music of Africa Series, No.11:Best Recordings of 1953, Part 2," is at the top of Mr. Schickele's list. A10-inch LP on the British Decca label, it includes field recordings of traditional tribal chants and ceremonial music. Mr. Schickele received the disc as a gift in the mid-1950's, when ethnomusicologists were the principal audience for such recordings. Today it might be a hot item in aworld-music catalog were it not long out of print. "I love a lot of the things on this album, but there is one track that has been terribly important to me," he said, singling out "Auou Mungoya," a four-minute recording of the Bantu Gogo tribe. The piece begins as a chant and expands into a harmonization that, to Western ears, sounds like the mildly dissonant dominant seventh chord. But while in Western music the dominant seventh is usually followed by a chord in which the tension of the dissonance is resolved, the Gogo tribesmen maintain the harmonization as the melody continues. "I've used this harmonic system in quite a few of my classical pieces," Mr. Schickele said. "There's a section of my Symphony that's directly inspired by it." More recent world music recordings made it to his list as well. "This is the music that Bartok got it from," he said, handing over his copy of "Balkanology," a recording by Ivo Papasov, a Bulgarian clarinetist,and his orchestra (Hannibal, on CD), and referring to folk music currents in some of Bartok's works. "This is a modern guy who has a band and actually plays weddings, although weddings are a little different there than they are here. They go on for four days. And he's one of the world's great virtuoso instrumentalists. What gets me is that the tunes are played at an incredibly fast tempo, yet they have all these little turns and embellishments."This music, too, left its mark on a section of Mr. Schickele's Symphony. When the work was performed by the National Symphony in Washington, Mr. Schickele recommended the recording to a contrabassoonist who was having trouble with some of the passage work. "When I saw him later," Mr. Schickele said, "he told me,'It's so much easier to play that lick in your Symphony now that I've listened to Papasov."'Mr. Schickele has always been drawn to American folk music as well. "Swarthmore College, which I attended from 1952 to 1957, was one of the first colleges to present a folk music festival," Mr. Schickele said as he cued up Jean Ritchie's a cappella recording of "Guide Me O Thou Great Jehovah" from her album "Saturday Night and Sunday Too" (Riverside, on LP). "When Jean Ritchie sang this, it was the only time in my life I remember calling friends at intermission and saying, 'You've got to get down here.' "I had never heard anything like this in American music," he continued. "The vocal embellishments sounded almost Eastern to me. When I was growing up, folk music was Burl Ives, who I still love -- he's a charming presence -- but I had never heard the down-and-dirty stuff." He discovered Earl Taylor's "Folk Songs From the Blue Grass" (United Artists, LP) in 1960, when he was living in Los Angeles and had a foundation grant to compose music for high schools. "This is one of my all-time favorite albums," he said. "I love the energy of this band. I also love harmony singing, and this has a lot of it. My producer on 'Schickele Mix' kids me that by the time the series ends, people will have heard the whole album because I use different songs to illustrate different things." That may be true of several rock albums as well. The Beatles seem to turn up on every other show; pressed to select one album, he chose "Rubber Soul" (Capitol). "I like the simplicity of the arrangements,and the quiet swing. It really rocks without being frantic." Among the other rock discs he pulled from the shelves were the Rolling Stones' "Beggar's Banquet" (Decca), Elvis Presley's "Golden Records" (RCA), Fairport Convention's "Full House" (Hannibal), the Beach Boys' "Smiley Smile"(Capitol) and Bob Dylan's "John Wesley Harding" (Columbia), all reissued on CD.The last two were quirky choices, not the discs typically cited as the artists' best. "I know," he said, "most people would choose 'Pet Sounds' for the Beach Boys, and I love that, too. But there's something about the feeling of 'Smiley Smile.' It has 'Good Vibrations,' for one thing. There are also early explorations of Minimalist techniques, in the way they repeat certain things without changing, as well as songs like 'Wind Chimes,' where the changes are so unusual that you have no idea where they're going to go."In terms of affinities, there are people who react to words and people who react to music. I'm definitely a music kind of guy, and it took me a while to come to Dylan. And while 'John Wesley Harding' is perhaps not as universally well regarded as 'Bringing It All Back Home' and some of those earlier ones, I like its spareness. "On 'Dear Landlord,' for example, you have just guitar, bass, drums and piano. Simple, direct. And songs like 'All Along the Watchtower'are so powerful, even if I don't know what they're about, exactly." Reaching into his jazz section, Mr. Schickele fished out a pair of Miles Davis classics, "Kind of Blue" and "Porgy and Bess" (Columbia); Ornette Coleman's "Shape of Jazz to Come" (Atlantic) and the Oscar Peterson Trio's "At the Stratford Shakespearean Festival" (Verve). (All are available on CD.) But the discs he seemed fondest of were "Gerry Mulligan Quartet" (Pacific Jazz, reissued on a Mosaic CD), the group'sfirst album, and Lennie Tristano's "Jazz Record Series" (Atlantic, reissued on a Rhino CD)."I don't know if you know these," he said, putting the Mulligan disc on the turntable, "but this quartet was baritone sax, bass, trumpet and drums: no piano, nothing to fill in the chords. It makes for a fantastically clear three-part counterpoint. "Lennie Tristano does this hard bop style of playing that's unlike a lot of other pianists. A lot of it is in the middle of the piano, in the tenor range rather than up high. And he doesn't fill in the chords a lot. Another thing I picked up from him was the idea that the deaccentuation of notes can be as important as their accentuation. One note will suddenly drop way down in the volume. It's a great effect." Not surprisingly, Mr. Schickele's classical tastes, too, are idiosyncratic. Among Mozart symphonies, for example, he chose the earliest ones,in 1950's recordings by Erich Leinsdorf (Westminster; a CD reissue is out of print), rather than the 40th, or the 41st, the "Jupiter." Among his favorites are Stravinsky's recordings of his Symphony in Three Movements and Symphony of Psalms (Sony Classical, CD) and a disc by the pianist Maurizio Pollini with the Boulez Sonata No. 2 and works by Webern, Prokofiev and Stravinsky (Deutsche Grammophon, CD). Although Mr. Schickele said he enjoyed current period-instrument groups, many of his choices in pre-Romantic music reflected styles that prevailed in the 1950's and 60's or earlier. One favorite, for example, is a 1962 collection of dances by Praetorius, Widmann and Schein, performed by the Collegium Terpsichore (Archiv, reissued on CD by Boston Skyline). "To my knowledge this was the first of what you might call the Renaissance big band recordings," he said. "The players added percussion, even though those parts weren't written in those days. But the performances are so lively and peppy." Mr. Schickele's choice of Bach "Brandenburgs" is similarly nostalgic: a long out-of-print traversal conducted by Fritz Reiner (Columbia,LP)."These would be completely inauthentic now," he conceded. "But,boy,the sense of rhythm and momentum still sounds good to me. And interms of the musicianship involved, these are among my favorite Bach recordings." Curiously, a visitor looking through Mr. Schickele's shelves found P.D.Q. Bach filed under Bach, with the real members of the Bach family,rather than with the Monty Python and Spike Jones discs on the comedy shelf, or with the other works by their composer, Mr. Schickele. "Hey, of course he is," Mr. Schickele said with a rolling laugh. "What did you think?" --------------------SFJ-------------------- From: "DON CZARSKI" > Subject: VOODOO BREW AND VOODOO STEW CDr's I'M LOOKING FOR COMPLETE CDr COPIES OF BOTH VOODOO BREW (4cd set) AND VOODOO STEW (4 cd set) BOOTS WITH ARTWORK...... IF YOU HAVE COPIES OR CAN BURN THEM FOR ME I WILL BUY THEM........ THANKS.. E-MAIL ME AT: serpentman13@hotmail.com YOU DON'T HAVE TO HAVE BOTH SETS. IF YOU ONLY HAVE ONE AND NOT THE OTHER THAT'S FINE...... --------------------SFJ-------------------- From: spela cedilnik > Subject: Re: Could You Walk On Water Does anybody know where I could get the Could You Walk On Water boot? Anybody has it? Please let me know because with all you talking about it you got me really curious and I'd really like to get it. Thanks. Spela --------------------SFJ-------------------- From: Mathijs van Heteren > Subject: Stones in Review Review of a Vinyl Gang Product VGP 123: Sure The One You Need The Kansas City, June 6th 1975 show is available on Sure the One You Need, VGP 123. Sound quality is not really good, and the second part of the concert is actually quite unlistenable. This show is mainly released on CD for its rarities played: Sure the One You Need, Luxury and Dance Little Sister. Sure the One You Need, a Jagger/Richards penned song is from Ron Wood's "I've Got My Own Album To Do" album and is sung by Keith. This song has been played live by Richards and Wood at the Kilburn theatre (July 14, 1974, with members of The Faces), and at most New Barbarian gigs in 1979. At least two times this song has been played live by the Stones: June 8, 1975 in Milwaukee, Wisconsin ( available as a bonus track on Black Light's I'm Working So Hard) and this Kansas City concert. In both Kansas City and Milwaukee, Sure the One You Need was sung instead of Happy (track 9, after You Can't Always Get What You Want) and Luxury was played after Tumbling Dice (track 11). Dance Little Sister was played for the second and last time live (after Baton Rouge, June 1st, first show) in Kansas City and the Milwaukee concert was probably the first show to feature Heartbreaker on the 1975 tour. According to people attending the Kansas City show, Ollie Brown played the drums on Fingerprint File, since Charlie had suddenly disappeared! In Milwaukee a strange interruption took place. According to eyewitnesses, the concert was completely over-sold out and the Milwaukee police and special narcotic agents had placed themselves between the crowd. As at every Stones gig, people would smoke some weed, but now here in Milwaukee only to find them selves arrested within a minute! This has been going on for most of the Stones concert, and on the tape of the concert (which is comparable to VGP's Sure the One You Need -below average audience) right after Wild Horses Jagger can be heard getting irritated! Saying "Oh dear there's some people being busted oh dear oh dear" (crowd starts booing loudly), continuing, "the lads in blue here, oh dear, come on now, don't make trouble cause you're only gonna cause it, I mean you lot in blue, oh dear" Then, after introducing Billy Preston, Jagger goes on: " all I can tell you, you know, is that we've gotta watch out for trouble and so have you". Then suddenly Ronnie comes out screaming: "but that's the end of it, aw-right, I fucking hope! All right let's enjoy the Billy! Let's deal with it!" Billy Preston starts his That's Life song, and he can't help laughing when singing the line "cuase someone is out to get ya! You gotta deal with it!" Crowd starts cheering! Mathijs More reviews can be found at: Stones in Review: ~http://home-5.worldonline.nl/~heteren/ --------------------SFJ-------------------- From: JS ENTERPRISE > Subject: $5 Stones Live Cdr's I have the following Rolling Stones shows on Cdr for $5 a disc: 69-73 "TIME TRIP VOL.1"- VARIOUS UNRELEASED STUDIO RECORDINGS 9 STUDIO 70MIN. 69-73 "TIME TRIP VOL.2"- VARIOUS UNRELEASED STUDIO RECORDINGS 9 STUDIO 73MIN. 4/29/76 "LIVE IN FRANKFURT"- FRANKFURT GERMANY- VIGOTONE RECORDS- 9 SB 65MIN 8/2/75 "A TOUR DE FORCE"- GATOR BOWL- JACKSONVILLE FLORIDA- VINYL GANG 110MIN. 8 AUD 7/19/75 "I'M WORKING SO HARD"- HUGHES STADIUM- FORT COLLINS CO- W/ELTON JOHN 8+ AUD130MIN. 6/11/75 "LUXURY IN BOSTON"- BOSTON GARDENS- MASSACHUSETTS- VINYL GANG- 8+ AUD 130MIN. 6/1/75 "BATON ROUGE 75""- LOUISIANA STATE UNIVERSITY- BATON ROUGE- AFTERNOON SHOW 9 AUD120MIN 10/28/81 "HOUSTON CAN YOU SING"- HOUSTON TEXAS- ASTRODOME -VINYL GANG 9+ SB 140MIN. 10/19/89 "LIVE AT L.A. MEMORIAL"- LOS ANGELES- MEMORIAL COLISEUM- MOONLIGHT RECORDS 10 SB 130MIN 4/11/98 "STONED IN RIO"- RIO DE JANEIRO- SISTER MORPHINE 10 SB 130MIN. Artwork is an additional $1 per show if interested! --------------------SFJ-------------------- From: geob@paonline.com Subject: VGP 235 I am looking for a CD or CDR copy of We Hope You Like This One (VGP 235) I can trade CDR or buy outright.Anyone with info please contact me off list. Lurker George --------------------SFJ-------------------- From: Stonsfn@aol.com Subject: Re: SFJ 758 Guns N Roses with the Stones Axl Rose did "Salt of the Earth" with Mick and the Boys during the Steel Wheels tour, I believe. Guns N Roses was the opening act for several of the concerts on that tour. --------------------SFJ-------------------- From: CG Compton > Subject: please post Hi Stickies, What did happen to the release of Ladies and Gentlemen presents or for that matter, Sister Morphine's Cold English Blood Runs Hot? CEBRH had been advertised this past summer, but still hasn't come out. Anyone know what happened? Cecil --------------------SFJ-------------------- From: kim 1 sal arken > Subject: Vinyl for Trade I have those Vinyl Stones records for trade: Rolling Stones No. 2. Decca. 1964. UK. Vinyl and Cover very good quality Out of our Heads. Decca. 1965. Germany. Remastered. V. & C. very good quality Between the Buttoms. Decca. 1967. Germany. V. & C. very good quality Great hits. Decca. Germany. V. Good. C. Okay 2 x Through the past darkly. Decca. 1969.(original C.) V. Good. C. So and so. Beggars Banquet. Decca. UK. 1968.(remastered) V. & C. Very good quality Let it Bleed. Decca. Germany. 1969. V. & C. Very Good quality 2 x Satanic. Decca. 1967. UK.(one 3D Cover) V. Good. 3D.C. Okay. Other Good. The Rolling Stones. Decca. Germany. 1970. V & C. Good quality Sticky Fingers( With Zip)RS. Records. Germany. 1971. V & C Very Good quality Sticky Fingers(no zip)RS. REC. Holland. 1971. V & C Very Good quality Love You live. RS. REC. Germany. 1977. V & C Good quality ONLY FOR TRADE, ONLY CD OR VINYL !! I want: Around and Around. Vinyl and Cd. Single Collection. The London years. Cd Box. Exile on Main. Str. Vinyl( good price for one with postcarts) Let it Bleed. Vinyl with poster (good price) Maxi-Singles: Miss You. Pink Vinyl Too much Blood. Vinyl Winning Ugly. Vinyl Boot´s: A summer Romance. Vinyl Offcourse theres a lot of boot´s I dont know, I´m interessted in them too. Vinyl and Cd. Contact private e-mail: kim@christiania.org --------------------SFJ-------------------- From: "DON CZARSKI" > Subject: YOU GET THE BEST OF ME - CDR I'M LOOKING FOR A CDR COPY OF THE FOLLOWING: "You Get The Best Of Me" 2 CD RR 013/14 Very nice compilation of 30 rare live tracks from the Bridges To Babylon Tour from USA & Japan 1997/1998. Contains many web choice tracks and other songs only played once or a few times. Good - very good audience quality. IF YOU CAN BURN A COPY OF THIS TO CDr PLEASE E-MAIL ME AT: serpentman13@hotmail.com WITH WHO TO CONTACT....... --------------------SFJ-------------------- From: kim 1 sal arken > Subject: Vinyl for Trade Still Life. RS.REC. 1982. Holland. V & C very Good quality 2 x Dirty Work. RS.REC. 1986. UK. V & C Very good quality TRADE...TRADE...TRADE...TRADE...TRADE...TRADE...TRADE...TRADE...TRADE... CONTACT PRIVATE E-MAIL: kim@christiania.org --------------------SFJ-------------------- From: Mathijs van Heteren > Subject: Official singles for sale Available: Official Singles: Like a Rolling Stone (recorded at Paradiso and Brixton, 1995) Track listing: Like a Rolling Stone Black Limousine All Down the Line Out of Tears: Track listing: Out of Tears (Don Was edit) I'm Gonna Drive Sparks Will Fly (Radio Clean) Out of Tears (Bob Clearmountain mix) Love is Strong: Track listing: Love is Strong (album version) The Storm So Young Love is Strong (Bob Clearmountain mix) Wild Horses: Track listing (recorded at Paradiso and Brixton, 1995): Wild Horses Live With Me Tumbling Dice Gimme Shelter Love is Strong (cardboard) Tracklisting: Love is Strong The Storm You Got Me Rocking Tracklisting: You Got Me Rocking Jump on Top of me You Got Me Rocking (perfecto mix) You Got Me Rocking (Sexy Disco Club Mix) All in one buy: $30 Email privately if interested. --------------------SFJ-------------------- From: Sam Miller > Subject: Please post in next SFJ Thanks !! Am selling the following CDs Vancouver First night 72 (2 CD on off beat records) Gathering Madness ^ Phoenix 1969 (VGP) Altamont 2CD (VGP) Get your leeds lungs out (TSP) Kleins Revenge (Metamorphosis plus various other tracks) All are original CDs and NOT CDrs Will have to add 10.00 postage for shipping from Japan. Please email if interested. samuel-miller@excite.com . ++++++++++++++++++++++++++++++++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. 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