(ROLLING STONES-Sticky Fingers)-USA/real WORKABLE ZIPPER-L5-LP

	A$		70
	$		46

DESCRIPTION ITEM: VINYL 12” LP RECORD 33 1/3rpm
ARTIST: THE ROLLING STONES
TITLE: Sticky Fingers
COUNTRY: USA
CAT No: See scan
COVER: (Grade at EXCELLENT+ to NEAR MINT-) small biro back cvr
With a real WORKABLE ZIPPER
INNER COVER: (Grade at EXCELLENT+) 2cm horizontal rear on seam
LABELS: (Grade at NEAR MINT) small biro L1
VINYL: (Grade at EXCELLENT+)
TRACKS:
Brown Sugar 3:50
Sway 3:45
Wild Horses 5:41
Can't You Hear Me Knocking 7:17
You Gotta Move 2:32
Bitch 3:42
I Got The Blues 4:00
Sister Morphine 5:34
Dead Flowers 4:05
Moonlight Mile 5:56
REVIEW: http://www.clashmusic.com/feature/classic-albums-the-rolling-stones-sticky-fingers
The Rolling Stones departed the Sixties under a black cloud. The decade of free love and flower power was torn apart by a series of deaths which brought the dream crashing to a gruesome end. In the summer of 1969, Charles Manson and his “family” embarked on a murderous rampage through Los Angeles, while in the UK, original Rolling Stone guitarist Brian Jones was found dead in his swimming pool that July. In December, as The Rolling Stones performed to over quarter of a million people at Altamont Speedway in California, one fan was stabbed to death just feet from the stage. As the Seventies dawned, the Stones emerged as survivors - when The Beatles split in 1970, it paved the way for them to become the greatest rock and roll band in the world.

‘Sticky Fingers’ was how they returned. The album - the first to feature guitarist Mick Taylor throughout - falls in the middle of their most creative period; the fertile run of Jimmy Miller-produced albums from 1968’s ‘Beggars Banquet’ to 1973’s ‘Goats Head Soup’. These albums all expertly demonstrated the Stones’ musical tastes (the authentic threads of Americana, veering from country to blues to rock and roll) doused in the various excesses of the times and reflecting their ascent to kings of decadence.

It begins with ‘Brown Sugar’, recorded at legendary soul studio Muscle Shoals, Alabama. A supercharged romp alluding to heroin, slave rape, interracial and underage sex, it’s dominated by the sharp open-tuned guitars of Richards and Taylor, and the wailing sax of Bobby Keys. However, the song was written completely by Mick Jagger, as was the evocative closer, ‘Moonlight Mile’. “Mick can write!” exclaimed Keith Richards in his autobiography. “It’s unbelievable how prolific he was. Sometimes you’d wonder how to turn the fucking tap off.”

‘Sway’ marked the conclusive end of the psychedelic Stones. When Brian Jones died, so too did experimentation with dulcimers, sitars and marimbas. Mick Taylor brought to the band a melodic fluidity - the twenty-two year old consolidated the Stones as a live band, his virtuosity offering new musical possibilities for the group. With Keith absent (his heroin habit already proving intrusive), the bedrock of ‘Sway’ is all Taylor; its searing solo a formidable justification of his recruitment. “The music changed - almost subconsciously,” Keith said of Taylor’s hiring. “You write with Mick Taylor in mind, maybe without realizing it, knowing he can come up with something different.”

Thus, ‘Sticky Fingers’ became potent and beautiful as the Stones fired on all cylinders. ‘Wild Horses’ is them at their most tender - whether about Keith missing his son Marlon, or the dying embers of Jagger’s relationship with Marianne Faithfull, its emotional finesse survived even Susan Boyle’s mauling. ‘Can’t You Hear Me Knocking’ steps into Santana territory, as a Latin groove fills over half its seven minutes, while Fred McDowell’s ‘You Gotta Move’ and the Stones’ own ‘I Got The Blues’ illustrates their Delta authenticity. Once a floundering jam, ‘Bitch’ was brought to life when Keith reached into his big bag of riffs and pulled out a belter. And it was his infatuation with country music - bolstered by his friendship with Gram Parsons - that bore ‘Dead Flowers’. Originally written by Marianne Faithfull in 1968, the bleeding junkie tale of ‘Sister Morphine’ was developed by the Stones into a bleak and diabolical cry for help.

Besieged by sex, drugs and demons, ‘Sticky Fingers’ bridges the gap between ’60s optimism and ’70s nihilism. Though the sprawling ‘Exile On Main Street’ would follow and be claimed as their masterpiece, this was the moment the Stones truly proved themselves satanic majesties.

COMMENT: Biography by Stephen Thomas Erlewine
By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them. Over the course of their career, the Stones never really abandoned blues, but as soon as they reached popularity in the U.K., they began experimenting musically, incorporating the British pop of contemporaries like the Beatles, Kinks, and Who into their sound. After a brief dalliance with psychedelia, the Stones re-emerged in the late '60s as a jaded, blues-soaked hard rock quintet. The Stones always flirted with the seedy side of rock & roll, but as the hippie dream began to break apart, they exposed and reveled in the new rock culture. It wasn't without difficulty, of course. Shortly after he was fired from the group, Jones was found dead in a swimming pool, while at a 1969 free concert at Altamont, a concertgoer was brutally killed during the Stones' show. But the Stones never stopped going. For the next 30 years, they continued to record and perform, and while their records weren't always blockbusters, they were never less than the most visible band of their era -- certainly, none of their British peers continued to be as popular or productive as the Stones. And no band since has proven to have such a broad fan base or far-reaching popularity, and it is impossible to hear any of the groups that followed them without detecting some sort of influence, whether it was musical or aesthetic.

VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
FAIR:
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
POOR:
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

COMBINED/BULK POSTAGE SAVINGS

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NOTE:
Double albums count as 2 LPs; triple albums count as 3 LPs etc

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