So a Mick Jagger solo Vinyl/CD boxset with his 4 solo albums and the unreleased blues sessions with The Red Devils from 1993 - maybe the "Alfie" Soundtrack for the first time on vinyl - and all the b-sides and an "odds and sods" tracks in a collected compilation? Maybe the "Webster Hall '93" officially released on Vinyl/disc and DVD, the "Being Mick" docu as well?
Did I miss some material?
Any takers on the forum?

That would prove a mess to coordinate given the various labels and soundtrack ownership. Mick jumped through enough hoops with his compilation disc over a decade ago. The current version of THE VERY BEST OF on iTunes and other streaming services lacks several of the previously licensed tracks for the CD. The plan with Atlantic/Rhino in 2007 was if THE VERY BEST OF sold well enough to release the blues album as an archival release. It's possible that might be revisited in the wake of BLUE AND LONESOME, but who knows? If so, I'd recommend putting the rest of the 1992 BluesFest gig at the Hammersmith Odeon on as bonus tracks.

I'm pretty sure Mick Jagger - like the Stones after 1971 - owns the Master of all his albums - She's The Boss and Primitive Cool did follow "Wandering Spirit" back in the day in the US to Atlantic Records. I'm sure it's the same with "Alfie" and The Blues Album with the Red Devils - remember it only took a day to record so that is one cheap album! Like you write there may be an issue with older tracks like "Memo From Turner" and a couple of others. But yeah like you wrote with the succes with "Blue & Lonesome" it would be stupid not to get that album out there now - and it would be a good argument for people to buy the box set.
And great with BluesFest gig as extras!

He owns the copyright in his music via Promotone or Jagged Recordings, but the distribution lies with different companies and needs to be licensed accordingly.

Quote
njet

Did I miss some material?

Compare it here: [iorr.org] .

Quote
Rocky Dijon
He owns the copyright in his music via Promotone or Jagged Recordings, but the distribution lies with different companies and needs to be licensed accordingly.

Surely the distribution deals are for finite periods?
One would have thought ALL solo material from Mick (and KEITH) would by now now be with UMG. Would simplify matters.

Quote
Irix

Quote
njet

Did I miss some material?

Compare it here: [iorr.org] .

What a list! I have never seen it all compiled like that, thanks Kowolski.

To the OP, I don’t have extra money floating around to buy a suitcase of vinyl.
Don’t hide gems on us, either.

I have to ask/ please don’t make me go back into the ‘Mick Jagger solo thread’
Quote below from list:
1.) Invocation of my Demon Brother (1968 - instrumental) - on "Lords of Chaos - The History of Occult Music" (2002/2008)
2.)(Can't Seem To) Get A Line On You (1969) - on "Leon Russell" (Leon Russell)

What is number 1? sounds scary and awful
What is number 2, I would like it

What is ‘Blues Fest’ as quoted by OP?

Thanks

I see from Rocky Dijon
1992 Blue Fest gig (then I googled)
[m.youtube.com]

Quote
35love
I see from Rocky Dijon
1992 Blue Fest gig (then I googled)
[m.youtube.com]

Is this the gem?
xxoo

Shine a Light previously known as (Can't Seem To) Get a Line on You.

via wiki: Shine a Light

"A version of the song, under the title "(Can't Seem To) Get a Line on You," was made by Leon Russell at Olympic Studios in October 1969 with assistance from Jagger (lead vocals), Charlie Watts (drums), Leon Russell (piano), and probably also Bill Wyman (bass) and Mick Taylor (guitar). The recording was made during the recording sessions for the album Leon Russell (released 1970), where both Watts and Wyman contributed drums and bass to some of the tracks. However, the song was shelved until 1993, when it finally surfaced as a bonus track on the 24K gold re-release by DCC Compact Classics (DCC Compact Classics GZS 1049)"

Though looking at various sources, I see a variety of different musical credits:
Either Ry Cooder or Chris Stainton on guitar. Keith's name was also mentioned somewhere.
Ringo on drums
Also read somewhere it could be Paul on bass? Doubtful...

Anybody know the actual correct line up?

Leon Russell- (Can't Seem To) Get a Line On You




_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Quote
Hairball
Shine a Light previously known as (Can't Seem To) Get a Line on You.

via wiki: Shine a Light

"A version of the song, under the title "(Can't Seem To) Get a Line on You," was made by Leon Russell at Olympic Studios in October 1969 with assistance from Jagger (lead vocals), Charlie Watts (drums), Leon Russell (piano), and probably also Bill Wyman (bass) and Mick Taylor (guitar). The recording was made during the recording sessions for the album Leon Russell (released 1970), where both Watts and Wyman contributed drums and bass to some of the tracks. However, the song was shelved until 1993, when it finally surfaced as a bonus track on the 24K gold re-release by DCC Compact Classics (DCC Compact Classics GZS 1049)"

Though looking at various sources, I see a variety of different musical credits:
Either Ry Cooder or Chris Stainton on guitar. Keith's name was also mentioned somewhere.
Ringo on drums
Also read somewhere it could be Paul on bass? Doubtful...

Anybody know the actual correct line up?

Leon Russell- (Can't Seem To) Get a Line On You

*’That was quite nice’ said at close, but I was thinking WOW
I started out thinking ohh sweet this is sweet
it turned to WOW @ Jagger’s end vocal riff
THANK YOU HAIRBALL!

Interesting that WIKI states that the song was largely a Jagger-Russell composition.
Published by ABKCO of course because of the date it was written (1969).

I wonder if Leon Russell ever claimed or received any composer royalties?

David Bowie's new CD Boxset - Loving The Alien - includes
Dancing In The Street(Clearmountain mix)- David Bowie and Mick Jagger

What Lost Jagger Album??his recordings with the red devils?
Jeroen

Quote
jlowe
Interesting that WIKI states that the song was largely a Jagger-Russell composition.
Published by ABKCO of course because of the date it was written (1969).

I wonder if Leon Russell ever claimed or received any composer royalties?

Good question. Sounds like most of the music might have been written by Leon, or at least he shaped it into what it eventually became, so maybe he's been getting a percentage of royalties all these years? But Leon seemed such a gentleman maybe he let it go as the actual credits are Jagger/Richards. And according to wiki, he did release the earlier version as a bonus track in '93, so maybe that's where he was able to cash in a bit?

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

When it was first released by DCC in 1994, Russell was listed as the songwriter. This was quickly corrected and later versions list the track as a Jagger/Richards composition published by ABKCO.

As for the question of whether Leon Russell deserves a songwriting credit, when you played "Shine a Light" before you knew this version existed, did you think Billy Preston deserved a songwriting credit? Their roles were the same. The fact that Mick ran the song down in the studio with friends doesn't mean Leon wrote it. Not saying he didn't, just that we don't know. Considering it was first played live at a Billy Preston concert in 1973, it would be easy to likewise suggest Billy co-wrote it if we didn't know Leon played the part first.

Common thinking among fans is that Keith had nothing to do with it. There were two issues of CREEM magazine in 1981 with Mick and Keith cover stories. In the Mick interview, he discusses Dylan being an influence on one of the lines (it was actually a folk song Dylan did early on). Mick says he believes Keith wrote that particular line, but nicked it from Dylan.

I sometimes think because others have to fight to receive a credit or believe they were denied credit, the rest of us forget Mick and Keith frequently suggest changes to lyrics or bridges or riffs or melodies on one another's tunes. There is an understanding that they can do this as part of the Jagger/Richards credit. They both steer the ship. A good example is the 1983 Musician cover story where it is discussed how Keith helped change "Undercover of the Night." Of course, neither would ever say that now. Ronnie did mention it in one of their hardcover books. I think it was in ACCORDING TO...

Quote
Rocky Dijon
The fact that Mick ran the song down in the studio with friends doesn't mean Leon wrote it. Not saying he didn't, just that we don't know.

True enough, we don't know. Sounds like Leon's style to me though, and sounds unique to anything the Stones had done before that session with Leon, but then again the Stones were breaking all sorts of new ground within their repertoire at the time so hard to pinpoint the true origins. Would be interesting to hear Micks demo (if there is one) before Leon added his piano playing and whatever else he might have added. And it's interesting to note it was initially intended for the Leon album, so you would think he had a bigger hand in it than just being a session musician.

And for what it's worth, via wiki:

"Although credited to usual Stones writers Mick Jagger and Keith Richards, "Shine a Light" was largely a Mick Jagger-Leon Russell composition. A version of the song, under the title "(Can't Seem To) Get a Line on You," was made by Leon Russell at Olympic Studios in October 1969 with assistance from Jagger"

Not saying Mick didn't come in to that session with his lyrics and the music entirely, just that we don't know.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Was it intended for Leon's album, though? Maybe it was just friends hanging out and running through a new song since the Stones weren't there and Mick was working on Leon's album as a guest. If it was intended for the album, there likely would have been as session log noting songwriting and publisher. DCC found the track on the master tapes and presumed it was a Leon Russell song. Not quite cut and dry. ICE newsletter/fanzine covered the story in detail with DCC back in 1994.

I know what you mean about it sounding like a Leon song, but compare "Live with Me" on YA-YA's to LET IT BLEED and Leon gives the song an entirely different feel. Still, that's playing vs. style. Maybe it was Leon influenced in the same way having Stevie Wonder as an opening act on EXILE tour influenced GOATS HEAD SOUP and moved Billy Preston from organ to clavinet.

It is tricky. I understand bands that give everyone present credit for writing music. Have you ever seen the MTV clip on the set of "Sex Drive" video where Charlie talks about how they played the song at rehearsals and sound checks during the Urban Jungle tour as "our version of 'Sex Machine' by James Brown" and then Mick went off and wrote lyrics and it came out as Jagger/Richards. "They ripped us off like usual," Charlie laughs. In the old days, it would have been Nanker/Phelge. Of course, I imagine James Brown's band members often wondered why he had solo writing credits. It's a tricky business.

RS magazine 2018 Happy B-day Mick says about 1992 Blue Devils sessions:

‘Cassette Tape most likely stolen, never properly mixed.’

about the bootleg floating around.

I've told a variation of this here before, but I grew up with Red Devils singer/harp player Lester Butler (Les as we knew him) in Santa Monica. Partied, hung out at the beach, and smoked weed (among other things) with him. He used to sit in with high school bands to sing and/or play harp on a tune or two. I vividly recall him singing Radar Love perfectly with one of the bands, and that was probably the highlight of the night which is why I remember it so clearly. He could also do a perfect imitation of Howlin' Wolf - both vocals and harp playing. Little Walter was his hero. After high school in the early-mid '80's, hanging at mutual friends' house, Les was always there lurking around -usually up to nefarious doings as some of the harder drugs (mostly coke)started entering the scene. He then earned a reputation as a heavy hardcore user of coke AND heroin - staying up nights on end, crashing on couches whenever and wherever he could. Eventually not hearing much from him or about him in the late '80's, I was aware he was in a blues band playing in Hollywood clubs, etc. His band eventually started making it somewhat big, and then word got out that he and his band were actually working with Mick Jagger!!! Holy crap, Les is going to hit the BIG TIME!!! We were all rooting for him, and even though nothing came of those sessions, his band continued to rise - playing giant festivals in Europe, etc. Eventually the band broke up, and Les went on to form his own band appropriately called 13. Then the news heard around the neighborhood - Les Butler is dead - OD'd on heroin at age 39. Sad, but not too surprising I guess. But really a shame as he had a really bright future. I'll always have fond memories of the young Les sitting in with high school bands - specifically of him full of zest singing Radar Love with full gusto. RIP Les.

As for these Red Devils sessions with Mick, they're superior to Blue and Lonesome imo, but maybe I'm biased because of Les Butler's involvement.
They've been available on bootleg for ages, as well as youtube, but it would be nice to see them get an official release.

In the meantime:

Mick Jagger & The Red Devils - The Blues Sessions (June 1992)




_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Wow thank you Hairball
yeah the other side of Cali/ late 80’s serious party I’m sorry
I haven't listened to any of the 1992 Blue Devils sessions
I can only put so much into my head but
I am now looking forward to it more,
I’ll save it for the weekend, cheers