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24FPS
What is being hammered home is that perhaps Mick is in no mood to work with Keith in the studio. Both of the new songs are essentially solo work done with the Stones. Both songs were completed before coming to the studio. Unless they plan to tour extensively, I don't see the need to do an album, from a marketing sense. They can just do a new song here and there.
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Rockman
Ronnie Wood ------ Classic Rock January 2013
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uhbuhgullayewQuote
Rockman
Ronnie Wood ------ Classic Rock January 2013
RE: the last question / answer
No input at all from the Music Director?????
Hmmmmmmmm.
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DandelionPowdermanQuote
24FPS
What is being hammered home is that perhaps Mick is in no mood to work with Keith in the studio. Both of the new songs are essentially solo work done with the Stones. Both songs were completed before coming to the studio. Unless they plan to tour extensively, I don't see the need to do an album, from a marketing sense. They can just do a new song here and there.
That is the case with several Taylor-era songs as well.
As nice it would have been, locking the glimmers in a room again - I think this is the way the work now, and the results could be awesome anyhow
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NICOS
10 and I hope 10 songs max
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gotdablouse
Unfortunately I think Gazza's made an excellent point with the lack of a new album requirement in their current deal with UMG and the "carrot" for the next deal...unless it's UMG again and they could somehow resign early.
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gotdablouse
Unfortunately I think Gazza's made an excellent point with the lack of a new album requirement in their current deal with UMG and the "carrot" for the next deal...unless it's UMG again and they could somehow resign early.
If they do, it would be a first. To the best of my knowledge, the Stones have never renewed an existing record contract. Certainly not since they left Decca anyway.
Theyve always chased the money and signed lucrative deals for a new label.
However, theyre at an unusual phase in their career where their last deal didnt require newly recorded product. As a result of this (and also because of the perilous state of the music industry) their advance was significantly less than it was for previous deals.
The bargaining tool theyve had in the last three decades when signing with Virgin, UMG and (to a degree) Columbia was their back catalogue. Even that has been milked to death by now, however so its less of an attraction for a prospective new label than it has ever been. And signing the Stones to a long term deal for new material makes no sense whatsoever considering their lack of output in the last couple of decades and the fact that their new albums, whilst good sellers, underperform in comparison to the advances that record labels have thrown at them.
The future for Rolling Stones product is in archive releases in various formats - both audio and visual - although thats more of a niche market, sales wise. One would imagine that any future deal would encompass all forms of media in order to make it practical.
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GravityBoy
"NOBODY WANTS TO HEAR SONGS FROM YOUR NEW ALBUM"
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WitnessQuote
GravityBoy
"NOBODY WANTS TO HEAR SONGS FROM YOUR NEW ALBUM"
Valid and possibly important point, Thinking along the same line, it is why I wrote in a post in another thread;
............................................The rather enthousiastic reception to the two new songs of 2012, apart from what there was of song quality and finishing recording effort, may have had much to do with the way the songs were made familiar to listeners, many of which would not have bought even a good studio album.
If correct, this shows a complicating factor associated with doing a new album. How shall it reach a concertgoing audience large enough? In the next instance, how can the band be able to perform vitalizing new songs during concerts to audiences that will be familiar with such new songs and applaud them? The stalemate which has led to theories called «Las Vegas era», seems certain to repeat itself sooner or later.
However, in the circumstances the band itself has happened to land on a possible solution that functions in the present situation. It is by making new material, possibly more in the form of individual songs than an album, available in a similar manner as to the two songs of 2012, that an audience may learn to appreciate new songs. Then it might be that it would be in the form of a live album, also featuring exquisitely arranged versions of a few warhorses, markedly separate from former live versions, that the band during the last weeks of a possible tour will be able to sell new songs to a record buying public that would care about their new songs.
I add: If that procedure might be followed, the first time new songs would feature on an album, would be as live songs, together with special versions of warhorses.
Or the Stones might follow the procedure on FLASHPOINT, only by letting studio songs have a larger share than when "Highwire" and "Sex Drive" were the only studio traks. For instance, with live versions of "You Can't Always Get What You Want" (with choire), "Midnight Rambler" (featuring Mick Taylor), "Lady Jane", "Gimme Shelter" (featuring Lady Gaga of obvious reasons) and "Tumbling Dice" (featuring the Boss, included once again out of obvious reasons) combined with studio tracks, some of which might before have been made available, possibly this time in another version, in the same way as the new songs of 2012.
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superrevvy
10.
its true there's no money in the record, but with lotza guests and mick taylor on
the album, and timed right in this very poor market for albums, it will get
into the top 5, which is all they want, to promote their next mini/PPV tour.