TATTOO YOU






For too many years it's seemed almost impossible for the Rolling Stones to make an album that hasn't involved — at least partially — the problem of being the Rolling Stones. This difficulty dogged them throughout the Seventies — it's part of the responsibility of having lasted so long, I guess — and they responded to both it and their audience's need for constant redefinition with snideness (who wants to be told that "It's Only Rock 'n Roll"?), subterfuge and, often, a nearly total lack of grace. Sheltered from everyday concerns (the concerns that sing the blues), the Stones hid behind cynical denunciations of meaning, a pose that transformed everything — money, girls and ultimately the music — into so much disposable scenery. Musically, it meant grafting unwarranted au courant attitudes onto the dependable drive of the rhythm section. Lyrically, it signified glorying in distance and turning stances, slogans and promises into false currency.

From today's viewpoint, much of the last decade consisted of camouflage — camouflage for an essential loss of nerve, an unwillingness to be seen unguarded for the length of an LP, or even a tune. But those years are over now, decisively, and with the triumphant release of Tattoo You, they seem shabby and sad. Just when we might finally have lost patience, the new record dances (not prances), rocks (not jives) onto the scene, and the Rolling Stones are back again, with a matter-of-fact acceptance of their continued existence — and eventual mortality — that catches Pete Townshend's philosophical maunderings in its headlights and runs them down. Tattoo You doesn't address the subject of maturity, or deny its onset, in a burst of satyriasis. Instead, maturity serves as the backdrop for rockers with real momentum and love songs with real objects, beginning with "Start Me Up," the catchiest Stones single in ages. "You make a grown man cry," Mick Jagger sings amid a clatter of handclaps and Charlie Watts' precision swing, almost as if he hadn't spent half his life trying to hold back the clock.

That same thread of reasoned recognition runs through the entire album, as though a decade of posturing had somehow been digested into fuel for moving ahead. Tattoo You is a compact, unified statement — despite the fact that some of its tracks (or segments of them) reportedly date back several years. This unity is partly the work of Bob Clearmountain, who mixed the finished tracks and gave them his characteristic vacuum-packed clarity (you could bounce a quarter off each of Watts' rim shots). Mostly, though, it sounds like the Stones simply decided it was time to challenge themselves again. Why else sign up jazz great Sonny Rollins as a session saxophonist? Rollins plays on only three of Tattoo You's cuts, yet his gutbucket sagacity sets the tone for the whole LP. He even turns "Slave," a standard Stones blues jam, into something searing and passionate by establishing a level for the rest of the musicians to match. In "Neighbors," Rollins' solo has the full-bodied sound of classic R&B — always about to go over the edge.

Raucous as a rent party, "Neighbors" is typical of the way the Stones use their past for present-day fodder. "Neighbors, have I got neighbors," moans Jagger, going on to accuse them of "saxophone playing, groaning and straining" and attempting to steal his woman — all of the things you'd expect if you had the Rolling Stones living next door. Such self-mocking allows the Stones to get away with the lyric's do-unto-others truism by putting themselves in the other person's place. It's also part of Tattoo You's surprising humanism, a welcome lack of contempt that's nowhere so evident as in the tunes that deal with women. The Philly-soul falsetto of "Tops" acknowledges that "every man has the same come-on" without faulting the man for trying (a trace of sadness here, maybe) or the woman for believing him. "Black Limousine" is as much a lament for the halcyon days of a relationship as it is a memory of glittering innocence. Even Keith Richards' "Little T & A" (full of wonderful chordal soloing and Richards' usual @#$%&-me-honey drawl) isn't immune: the place could be anywhere at all, but the girl is one of a kind.

Tattoo You's finale, "Waiting on a Friend," sums up the record's notions of love, loss and acceptance: "Making love and breaking hearts/It is a game for youth/But I'm not waiting on a lady/I'm just waiting on a friend." Filled with attractive ambiguities and intimations of mutual dependency, the song is a celebration of maturity. "I need someone I can cry to/I need someone to protect," sings Jagger, and Rollins' sax picks up a calypso flavor, melodic and transcendent, at the end, as if the loved one had come into view.

Are the Rolling Stones fooling me with all this? I don't think so. Am I fooling myself? I hope not. I do know that the vocal blend in "No Use in Crying" and the way that Mick Jagger drops from falsetto to full voice in "Worried About You" have the instant impact of a lover's touch — a strength that means far more than a mere return to form. I think it means that the Stones have settled magnificently into middle age, and that such an adjustment has given them back a power they long ago relinquished. This is especially clear in "Heaven," a paean to physical love that glorifies tenderness, not sweat and excess. It's an odd, hymnlike number, more reminiscent of Television than of anything by the Stones. In part, "Heaven" is a lover's talisman, a promise of protection: "Nothing will harm you/Nothing will stand in your way." Like all of Tattoo You, it begs the listener's trust. And, for the first time in years, the Rolling Stones deserve it. Deserve it in spades.

Rolling Stone magazine, October 15, 1981

[www.rollingstone.com]



Edited 2 time(s). Last edit at 2016-03-17 06:26 by exilestones.

100 Best Albums of the Eighties

The Rolling Stones, 'Tattoo You'





"Tattoo You wasn't really an eighties album," says Mick Jagger, and in a sense he's right. The decision to launch a Rolling Stones tour in 1981 left the band with little time to write new songs and prompted what Keith Richards calls "a frantic search through the can" to come up with material for an album — a search that produced some ironic results.

"The album came out and everybody said, 'It's the freshest-sounding Stones album in years,'" says Richards, laughing. "We all had a good chuckle."

"Oh, that made me really laugh," Jagger says in agreement. "But now all can be revealed. I was actually rather scared at times. I thought, 'They're bound to notice. The critics can't not notice that this is from here and that's from there.'"

As it turns out, the band reached back nearly a decade for material. The ballads "Waiting on a Friend" and "Tops" were begun in Jamaica in 1972 during work on Goats Head Soup. "Worried About You" and "Slave" dated back to some 1975 rehearsals in Holland for Black and Blue. Early versions of "Start Me Up" were worked up during the Some Girls sessions in 1978. Finally, "Neighbors," "Heaven," "No Use in Crying," "Little T&A," "Hang Fire" and "Black Limousine" were initially recorded during the 1979 sessions for Emotional Rescue.

Of course, the varied origins of the songs on Tattoo You do not detract from the album's power and thematic richness. As Richards points out, having a stockpile of worthwhile material is "one of the advantages of being around for a while." Both Jagger and Richards estimate that forty or more takes exist of "Start Me Up" — one of the Stones' best singles — all but one of which treat the song as a reggae number. "We'd obviously gotten pissed off with reggae," says Richards with a laugh. "We just hit it that one time — rock & roll — and there it was lying there, like a little gem."

In addition to unearthing a single that would burn Tattoo You into the memory of their fans, the Stones pushed the boundaries of their music by bringing in jazz saxophonist Sonny Rollins to play on three tracks of the album. "Instead of having all these rock players, I thought we'd go a bit more off the wall and ask him to do some solos," says Jagger. "You can't beat using the best people." In addition, Jagger credits Bob Clearmountain, who mixed the record, for the cohesiveness of Tattoo You. "He did a great job of making it all a rather more homogeneous sound," Jagger says. "It sounds crisp, like it was recorded only yesterday."

For Jagger, Tattoo You provided a valuable lesson in the uses of the past. "It just shows what you can do," he says. "Just bring the tracks out, and start doing vocals and the odd guitar bit and saxophones, and then, hey, you've got an album. And it does actually hold up quite well."

Rolling Stone magazine

"The inner sleeve is the hoof/high heel shoe on one side and a Moire Pattern on the other." - Enola Straight






A1 Start Me Up 3:32
A2 Hang Fire 2:22
A3 Slave 4:53
A4 Little T & A 3:24
A5 Black Limousine 3:31
A6 Neighbours 3:31

B1 Worried About You 5:15
B2 Tops 3:45
B3 Heaven 4:21
B4 No Use In Crying 3:24
B5 Waiting On A Friend 4:34



Written-By – Jagger-Richards, Wood* (tracks: A5, B4)



Promo Litho for TATTOO YOU Ltd.Ed



Edited 2 time(s). Last edit at 2016-03-17 06:37 by exilestones.

"Hang fire refers to an unexpected delay between the triggering of a firearm and the ignition of the propellant. A hang fire should be suspected whenever a firearm fails to fire, but has not clearly malfunctioned. In modern firearms, it is more likely that the round is a "dud" (one that will never fire at all).

"Hang Fire" was first written and recorded during the Some Girls sessions in Paris. Released as the third single from Tattoo You, the song became a radio hit in the US, where it reached No. 20 on the singles chart. The song was played heavily on the Stones' tours of 1981 and 1982, but has been played scarcely since. Its B-side, "Neighbours", would become an airplay hit and a video was also made for the song."

[en.wikipedia.org]



"In the sweet old country where I come from / Nobody ever works / Yeah nothing gets done / We hang fire, we hang fire."



Edited 1 time(s). Last edit at 2016-03-17 04:59 by exilestones.

Hang Fire Video


--- ---



Hang Fire Early Version 1977 "My old lady is such a lazy bitch.."



Edited 5 time(s). Last edit at 2016-03-17 05:12 by exilestones.

Edited 2 time(s). Last edit at 2016-03-20 20:19 by exilestones.

Quote
exilestones
"Hang fire refers to an unexpected delay between the triggering of a firearm and the ignition of the propellant. A hang fire should be suspected whenever a firearm fails to fire, but has not clearly malfunctioned. In modern firearms, it is more likely that the round is a "dud" (one that will never fire at all).

"Hang Fire" was first written and recorded during the Some Girls sessions in Paris. Released as the third single from Tattoo You, the song became a radio hit in the US, where it reached No. 20 on the singles chart. The song was played heavily on the Stones' tours of 1981 and 1982, but has been played scarcely since. Its B-side, "Neighbours", would become an airplay hit and a video was also made for the song."

[en.wikipedia.org]



"In the sweet old country where I come from / Nobody ever works / Yeah nothing gets done / We hang fire, we hang fire."

hang/hold fire
to delay doing something, especially making a decision, because you are waiting to see what will happen.

Mathijs

The Rolling Stones (L-R) Bill Wyman, Ron Wood,Mick Jagger, Charlie Watts and Keith Richards during a rehearsal at S.I.R. Studios on June 30, 1981 in New York City, New York.

























-

















Edited 2 time(s). Last edit at 2016-03-20 20:20 by exilestones.

.........................................................









S.I.R Studios offered world-class production stages and rehearsal studios for a wide variety of uses. Available at each of our rehearsal facilities are all of the additional resources you'll need such as musical instruments, today's best audio and video equipment and the technical personnel to make your production come together perfectly. Each production and rehearsal space provides complete privacy and a comfortable and professional working environment. Production offices with phone, fax and high speed internet services are also available upon request.

SIR has the ability to provide solutions in our stages and studios for events of all sizes, such as:

Album listening & release parties
Pre-tour production
Recording rehearsals
Band/label showcases
Corporate or wedding band rehearsals & showcases
Photo/video shoots
Auditions
Product demonstrations and workshops

Custom production packages are tailored to your unique needs. Some of the many things we can also arrange for you are lighting, Pro Tools and recording services, technical staff, security and catering. Ask our Production Coordinators how we can assist you with your specific project.



Edited 2 time(s). Last edit at 2016-03-18 09:49 by exilestones.

Edited 2 time(s). Last edit at 2016-03-20 20:23 by exilestones.

This photo looks like 1980-1982. Any information is appreciated. Thank you.

catharine anderson









Bob Waggs October 17, 1981


San Francisco, October 17, 1981



Edited 3 time(s). Last edit at 2016-03-21 21:57 by exilestones.

.



Edited 1 time(s). Last edit at 2016-03-20 20:44 by exilestones.

WEMBLEY

Some of these images by Peter Still were posted before. I found some images that were new to this thread so I reposted the original images and the moved the posted to here.










...... ......

























Listed as Wembley June 26, 1982 Peter Still



Edited 1 time(s). Last edit at 2016-03-20 21:00 by exilestones.

CHICAGO













......



- - - - -




Kirk West






7---------------------




Kirk West




(








^




{ -



4
















" - -
Sugar Blue, Charile Watts, Ron Wood and Keith Richards
Rosemont Horizon November 24, 1981 Kirk West


1


+ - - -


[ - - -


5.......................................... - -














Edited 8 time(s). Last edit at 2016-03-22 07:20 by exilestones.

CHICAGO


































originally posted by Rockman



Edited 3 time(s). Last edit at 2016-03-22 07:17 by exilestones.

Super Rock Magazine (JAPAN) 1981 november



Edited 1 time(s). Last edit at 2016-03-22 06:51 by exilestones.

unknown



Edited 1 time(s). Last edit at 2016-03-22 07:15 by exilestones.

Edited 1 time(s). Last edit at 2016-03-22 22:26 by exilestones.

........................ ........................ ........................ ........................

[theballadofmickandkeith.tumblr.com]




[keith-richards.tumblr.com]



Edited 3 time(s). Last edit at 2016-03-23 02:38 by exilestones.

............................ ............................
Mick Jagger and Keith Richards during french interview in 1982


[theballadofmickandkeith.tumblr.com]

[keith-richards.tumblr.com]

puzzle



sticker




[picclick.com]

The Once and Future Stone: Bill Wyman Says He's Not Leaving The Band

Bassist talks about life on the Riviera, 'Green Ice' and his solo single.
By Kurt Loder August 20, 1981



Bill Wyman attends Mick Jagger Party at Mick Jagger's home in New York City, on June 3rd, 1981. Ron Galella


When Bill Wyman first met Marc Chagall three years ago, the great Russian-Jewish artist took one look at the
Englishman's shoulder-length hair, flipped a stray curl with his finger and said, "Change it. It's not original."

Wyman was wounded. "But we started this," he protested. "In 1962."

"Ah," Chagall said with sudden respect. "Okay, then."

The common bond of the creative impulse, you see. In the south of France, where Wyman and Chagall maintain expatriate domiciles,
the possession of extraordinary wealth – les fonds serieux, as Ian Fleming, another noted Riviera gadabout, once put it –
alone is no distinction. Art, or artfulness, is all.

"Here, they treat anybody creative as an equal," Wyman said recently. "It's rather wonderful if you're rock & roll, because in
other countries you're regarded as something that the cat dragged in, you know? So it's kind of lovely to go to people's houses here –
artists and writers in their sixties and seventies and eighties – and see that they actually have Rolling Stones records from 1965.
And Pink Floyd and Yes and Bob Dylan. It's extraordinary."

Wyman's Mediterranean retreat – which he shares with such neighbors as Roger Moore, David Niven, James Baldwin and Dirk Bogarde –
has been an altogether stimulating influence on the Stones bassist. Since the band is not together frequently unless on the road or
in the studio, Wyman has had plenty of time for his own pursuits. He composed the soundtrack to Green Ice, an action film about
emerald smuggling starring Omar Sharif and Ryan O'Neal. His candid photo portraits of Chagall will illustrate a book about the
artist that's due to be published in France this fall. The text will be written by the venerable French poet Andre Verdet,
who introduced Wyman to Chagall. In Britain, he's just released his first single, "Je Suis un Rockstar," under a new solo
recording deal with A&M Records. He described the song, which is currently not scheduled for U.S. release,
as "a bit of a sendup."

Despite the appearance given by all this solo activity, Wyman squelched – hopefully once and for all – a persistent claim
that he is planning to quit the Rolling Stones next year on the occasion of their twentieth anniversary. The amiable bassist,
who insists that the band is still "the biggest project in my life and always will be," ignored this report when it first appeared
in London's Daily Express a year and a half ago, and he gritted his teeth but remained mum when it resurfaced last February
in another English tabloid, the News of the World. But when the London Daily Star recently ran what it called an
"exclusive interview" with Wyman, claiming that he was "fed up with rocking on" and was definitely "going to quit,"
he angrily filed suit against the paper for libel. (The Daily Star had no comment on the suit.)

"I'm not asking any damages," he explained. "It's just the point of it: The story was totally untrue. I had no interview with them.
This guy happened to sit in on an interview I did in February at MIDEM [the international music-industry convention held
at Cannes, near Wyman's home]. I was under the impression that he was writing for the MIDEM newsletter. Then he went off and
sold his story as if it were an exclusive – and even then it didn't come out until like four or five months later. I got well pissed off
with this continual rehashing of a little thing I had said that was taken out of context eighteen months ago by the Daily Express.

"It was a very casual remark – like when John Lennon said that the Beatles were bigger than Jesus, you know? But it always seems
to be an 'angle' when a member of a well-known band appears in a different light. The papers jump the gun and think, 'Right, he's
leaving. He's doing his own thing.' It happens all the time, and it gets very boring. The paper seems apologetic now, and
I'm just hoping that once and for all this will kill these little scandal stories in these bad newspapers."

In fact, the Stones have finally wrapped up a new album and are scrambling to plan a tour. "I'm looking forward to the tour,"
Wyman said. "I think it'll be a lot of fun. We were hoping to get moving early in July, but that was a bit too optimistic.
It takes so long to organize these things. We're considering doing small venues as well as large ones, pretty much the same
as the '78 tour, which worked out very, very well. I think it's nice to switch from a 100,000 open-air date to a 3,000-seat theater
– takes you right back to the roots, like the old jazz clubs we used to play in the early Sixties."

The album, which should be released in August, hasn't been titled yet. "But that's always the last thing. They just finished
the final mixes. I met the lads in New York and we got together and saw how we were and had a listen, and I found the album
very, very good. Usually, there're always one or two tracks that don't, like, get me off, you know? But on this one, I liked
every track. It's sort of like the last two albums – there's that same kind of freshness – and there's a little bit harkin'
back to the Sixties as well."

Wyman has left the rest of this year clear for the Stones, but once the tour is over he'll return to France and resume work
in his various thriving sidelines. Because he wasn't particularly happy with his two previous solo albums, Monkey Grip and
Stone Alone, he wants to stick to making singles for a while. And as a result of the Green Ice soundtrack (which features
one of Wyman's favorite vocalists, Maria Muldaur, singing his lyrics on two tracks), he's received more offers to do
film scores. "I'm in the running for quite a nice one, a sort of thriller, which is gonna be a good movie. And someone
asked me if I'd like to do a Broadway musical, which I thought was interesting, but a bit off the wall at this time
in my career."

More important, Wyman hopes to see his Chagall book translated into English. "It's called Chagall Mediterranee – The Mediterranean Chagall
– and the great thing is, he's done four new watercolors and eight pen-and-ink drawings for the book." Wyman is clearly inspired
by the artist's undiminished creativity – Chagall, after all, turned ninety-four on July 7th, which makes him a bit more than
twice Wyman's age. "He's wonderful," he said. "He paints as well as ever, his eyes are bright and sparkly and alive – he's
exactly the same."

This story is from the August 20th, 1981 issue of Rolling Stone.



Edited 1 time(s). Last edit at 2016-03-23 21:09 by exilestones.

Since this "1981-1982 Wardrobe" has grown in to anything and everything Rolling Stones 1981-1982, I'm highlighting Bill Wyman.
"Wyman Shoots Chagall" has photos and stories from the 1981-1982 era as mentioned in the above Rolling Stone magazine article



------- Wyman Shoots Chagall -------





After enjoying Bill Wyman's 1990 autobiography "Stone Alone", I couldn't pass
up "Wyman Shoots Chagall". I am glad to say "Wyman Shoots Chagall" was another enjoyable
read by Bill Wyman. Along with a great story of his friendship with the world renowned
artist Mark Chagall, Bill has decided to show us besides being a great musician, he is also
a great photographer.




"Wyman Shoots Chagall" is a wonderful book in many respects. It tells some interesting
anecdotes about the Rolling Stones, it provides a detailed account of Bill Wyman's
friendship with Marc and Vava Chagall, and it displays wonderful pictures. But above all it
reveals a somewhat unknown Wyman: Charlie was the quite stone, Mick was the most dynamic
Stone, and Keith was simply Keith--but Bill Wyman emerges from the pages of this book as a
very interesting fellow. Very curious, very interested in different art forms and it shows
that Bill had a fairly good knowledge and understanding of art, not only Chagall's work.



In 1971 Rolling Stones left England and moved to the South of France. It was initially a
temporary measure, but Bill ended up staying for more than a decade. He bought a plot of
land in Venice, built a house, and made new friends including the great artist and local
celebrity Marc Chagall, celebrated for his dream-like paintings, ceramics, and stained-glass windows.



During this time, Bill with the Rolling Stones recorded "Exile on Main St."

“Wyman Shoots Chagall” is a great story of Wyman’s unlikely friendship with the world
renowned artist Mark Chagall. Chagall was in his late eighties. Bill quickly established a
warm friendship, meeting regularly for afternoon tea.


Bill Wyman and George Chagall 1982


Bill struck friendships with other know celebrities and introduced them to the Rolling
Stones which he chronicles in the rare high quality book.

During their friendship Bill took many fabulous photographs of Mark Chagall, most of which
are published here for the very first time. Bill’s stories meander through his private
life of living in the South of France, glimpses in to the Rolling Stones at the time and
chronicles Mark Chagall’s life and accomplishments.

Bill’s view of Chagall is as a friend and neighbor, as an artist and historian.
The book features rare intimate photos in Chagall’s home and some of his daily activities as well as Wyman’s.

“Wyman Shoots Chagall” features several rare photos of the Rolling Stones and gives a sense
of Wyman’s closeness with band mates Ron Wood and Brian Jones.



Accompanying the book, Bill has added a bonus CD, which is only available in the book,
contains classical compositions he wrote in the 1980’s and were performed by the London
Symphony Orchestra that has never been commercially released. There’s also rare Bill Wyman
song(s) that he sings as well.



Also captured by Bill's lens are photographs of Brian Jones, Charlie Watts, Eric Clapton
and Elton John. The book is a must for anyone who is a fan of Bill Wyman or Mark Chagall.



It is well worth the money.

The book ends in the mid 1980’s which sees the passing of the legendary Chagall and Wyman
returning home to England.



Bill has a very good insight of what made Chagall's paintings so wonderful: it was not the
techniques; it was the love, the magic that Chagall put into those paintings that make them so special.



Deluxe binding with a leather spine and colored paper boards showing Chagall designs is
housed in a blue cloth slipcase. Also contains the CD on the inside front cover pocket,
which are solo recordings made by Wyman in the 1980s. Printed in color throughout.

“Wyman Shoots Chagall” has constantly soared in values as it is rare as it highly sought
after by artist and Rolling Stones fans.



[www.ebay.com]?




"Wyman Shoots Chagall" is a charming limited edition volume about Chagall and Chagall's

paintings, restricted to onlt 1,500 copies worldwide, presents the portrait photography and
extensive reminiscences of Bill Wyman.

“We were living all over the place. Keith went to Cap Ferrat, up the coast towards Monte
Carlo. Mick was in Biot, which is near Antibes. Charlie had a farm in Arles, while I was in
a rented house, the Bastide St Antoine, which was near Grasse, where they make the perfume,
a few miles away from Pablo Picasso’s house in Mougins. Mick Taylor was up north behind me.

So we were quite spread out, but we liked that. Well, I did. We saw a lot of each other,
though, because we were making a double album, Exile on Main Street, for most of the first
year there. We had the Stones mobile studio situated in Keith’s house, and we would go to
work there most every weekday for months,” says former Rolling Stone Bill Wyman.

When all the members of the Rolling Stones relocated to the South of France in 1971, it was
initially a temporary measure, but Bill Wyman ended up staying for nearly a dozen years. In
Vence, he bought a plot of land, built a house, and made new friends among the artists,
musicians and sportsmen in the area.

In 1976, Bill Wyman was introduced to the great artist and local celebrity Marc Chagall,
celebrated for his dream-like paintings, ceramics and stained-glass windows. Chagall was in
his late eighties by then, but he and Bill quickly established a warm friendship, meeting regularly for afternoon tea.

The first time I’d met Marc Chagall, he said, ‘Oh, your hair’s too long!’ I responded:

‘Yeah, but we started it in 1962 – we were the first pop musicians with long hair.’ ‘Ah,”
Marc Chagall said, ‘you’re the originators. That’s OK.’ He’d thought we were copyists, and
in the art world you don’t copy,” says Bill.



Since his childhood, former Rolling Stone Bill Wyman has been a keen photographer and in
France this talent blossomed. Over several years he captured Chagall in informal and
intimate images, which have now been faithfully reproduced in the book "Wyman Shoots
Chagall". Also captured by Bill’s lens in Wyman Shoots Chagall are artists Arman and César



and poet André Verdet, alongside Charlie Watts, Brian Jones, Ringo Starr, Eric Clapton,
Elton John, Ray Cooper and other celebrities, as well as members of Bill’s family, views of
his house in Vence, some stunning landscapes, and examples of his more abstract
photography. In all the book includes over 120 of Bill Wyman’s personally selected images.

Bill has provided a commentary of more than 20,000 words to accompany the pictures,
reflecting at length on his friendship with Chagall, life as a Rolling Stone in the South
of France, his long-term love of photography, and his musical influences. This text is
interspersed with short chapters in which Bill tells Chagall’s life history.

Wyman Shoots Chagall is accompanied by a special CD of solo recordings made by Bill Wyman
in the early Eighties at the time he knew Marc Chagall. Featured are Chagall Suite, a
series of linked orchestral pieces composed by Bill with Mike Batt and recorded by the
London Symphony Orchestra, which have never been commercially released; and Nuclear

Reactions, Bill Wyman’s futuristic pop song about astronomy, a passion he shared with Chagall.

This CD is being specially pressed and is available only as part of this book/CD set,
making "Wyman Shoots Chagall" a highly desirable item for those who follow Bill’s career in
all its aspects as well as lovers of Chagall’s extraordinary art.



Wyman Shoots Chagall exhibits the standards of content, design and production for which
Genesis is now well known. The familiar team of Genesis and London design house Wherefore
Art have worked closely together to present Bill’s work in classic style.

The Wyman Shoots Chagall runs to a total of 168 pages (trimmed size 240mm x 168mm), printed

onto three different types of paper: the main body of 144 pages is master-printed in full-
colour throughout onto uncoated acid-free paper, with a pair of additional 8-page sections
printed on matt art stock, each of these bookended by a sheet of tracing paper printed in royal blue.

This handsome volume is quarter-bound in Mediterranean blue leather with silk-screened
white canvas front and back boards.

Together with the specially-designed CD, the book is presented in a blue cloth slipcase
which is silk-screened in yellow and edged in blue leather.




(Genesis Publications)
Published (UK): December, 1998
Limited numbered edition (1,500 copies worldwide) – 168 pages,
with very rare CD in pocket on front paste-down endpaper.

ISBN-10: 9110265988
ISBN-13: 9789110265981
FORMAT: HARDCOVER

[billwyman.com]



Marc Chagall, Le Violoncelliste


Link: eBay with more photos



Edited 2 time(s). Last edit at 2016-03-24 06:30 by exilestones.

Bill Wyman

"(Si, Si) Je suis un rock star" (July 1981)
"Visions" (1982)
"Come Back Suzanne" (March 1982)
"A New Fashion" (March 1982)


(Si Si) Je Suis un Rock Star

"(Si Si) Je Suis un Rock Star" was a solo hit for Bill Wyman of the Rolling Stones in 1981.
It was placed on his eponymous album of the same year, through A&M Records.

Wyman originally recorded the song as a demo for Ian Dury. He was happy to hand it
over to someone else because at that juncture he did not want to make solo
records. The problem was that no-one would play it to Dury and it would not be
played to other artists because they all thought Wyman should do it himself, so he
reluctantly cut the track himself, using an accent he later described as "Cockney French".

[en.wikipedia.org]

Bill Wyman - lead vocals, bass guitar, all other instruments, design
Terry Taylor - guitar, backing vocals
Bruce Rowlands - drums on "(Si Si) Je Suis un Rock Star"
Jim Phantom - drums on "Rio De Janeiro"
Stuart Epps - engineer
Mike Ross - design
produced by Chris Kimsey
Graham Hughes - photography




----------------------- video: [www.youtube.com] -----------------------

Bill Wyman - Je Suis un Rock Star - 1981 Original Music Video in Dolby HD


August 18, 1981 Promotional video shooting, London and/or St. Paul de Vence,
France: BILL WYMAN, “BILL WYMAN,” video (Ripple-Virgin VVC 046 UK,

“(Si, Si) Je Suis Un Rock Star” (Wyman) (Lip-synched performance)

Je Suis un Rock Star


Said she come from Rio
Lived on a mountain
I met her in Trafalgar Square
She was sitting in the fountain

She took off her hat
And she had lovely hair
Said she smoked marijuana
At the Coco Cabana there

South American lady
You've got that crazy beat
Brazilian beauty
With the flashing feet

We danced to the music
At the Mardi-Gras
Then jumped on the Concorde
You're so lah-di-dah

Si, si
Si, si
Si, si

Took her to a disco
In Battersea
I asked her to dance
And then she danced with me

And then I took a chance
Come home with me today
I live in France
We can get there B-E-A

Je suis un rock star
Je avais un residence
Je habiter la
A la south de France

Voulez vous
Partir with me?
And come and rester la
With me in France

But BEA's on strike
There's no planes flying
I can rent a motorbike
At least I'm trying

We could go on the hovercraft
Across the water
They'll think I'm your dad
And you're my daughter - ode to Mandy Smith?

Je suis un rock star
Je avais un residence
Je habiter la
A la south de France

Voulez vous
Partir with me?
And come and rester la
With me in France

Je suis un rock star
Je avais un residence
Je habiter la
A la south de France

Voulez vous
Partir with me?
And come and rester la
With me in France

Je suis un rock star
Je avais un residence
Je habiter la
A la south de France

Voulez vous
Partir with me?
And come and rester la
With me in France

Je suis un rock star
Je avais un residence
Je habiter la
A la south de France

Voulez vous
Partir with me?
And come and rester la
With me in France

Je suis un rock star
Je avais un residence
Je habiter la
A la south de France

Voulez vous
Partir with me?
And come and rester la
With me in France

Bill Wyman and Mandy Smith