Would have thought the Christmas buying spirit would have helped sales as it did with Blue and Lonesome!
Whatever the case, not bad for 50+ year old recordings from men who are now in their mid 70's.

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

Quote
Hairball
Would have thought the Christmas buying spirit would have helped sales as it did with Blue and Lonesome!
Whatever the case, not bad for 50+ year old recordings from men who are now in their mid 70's.

The last 7-8 years were great for the Stones, only in the U.S, they charted at least 1 album each year, and that's with only 2 NEW SONGS recorded and NO album with ORIGINAL material released:

2010
#2 - Exile On Main St.
#27 - Exile On Main St. (Target exclusive)

2011
#198 - Exile On Main St.
#46 - Some Girls

2012
#135 - Some Girls
#19 - GRRR!

2013
#50 - GRRR!
#19 - Hyde Park Live
#18 - Hot Rocks

2014
#105 - Hot Rocks
#120 - Hampton Coliseum

2015
#128 - Hot Rocks
#5 - Sticky Fingers (re-issue)
#65 - Sticky Fingers (Super Deluxe)
#92 - Sticky Fingers Live

2016
#188 - Hot Rocks
#4 - Blue & Lonesome

2017
#9 - Blue & Lonesome
#106 - Hot Rocks
#47 - On Air

That's the largest string of consecutive charting years since 1964-1984:

1- 1964-1984 (Engands Newest Hitmakers - Rewind // 21 years)
2- 2010-2017 (Exile - On Air // 8 years)
3- 1994-1999 (Voodoo Lounge - No Security // 6 years)
4- 2002-2006 (40 Licks - ABB // 5 years)
5- 1989-1991 (Steel Wheels - Flashpoint // 3 years)
6- 1986 and 2008 (Dirty Work and Shine a Light // 1 year)

Off years: 1985, 1987, 1988, 1992, 1993, 2000, 2001, 2007 and 2009

Quote
Cristiano Radtke
Mick talks about "On Air" on the newest Mojo magazine (February 2018)

It's very telling that the interviewer has more words in the interview than the interviewee.

Mick should forget about trying to be so "current" and just learn to appreciate his body of work -- just bite the bullet and get "super involved" with ABKCO and celebrate the legacy of what made them so essential to begin with.

I have the 2-disc version of this new and official release -- the first disc is great, Bill Wyman right up front and center in the that big booming mono bass fashion -- the "Disc 2 - Bonus Tracks", well not so much, barely less than bootleg quality. But the first disc is worth the price of admission for sure, at last a "true blue" version of what's been heard on bootlegs all these years.

But until Mr. Jagger gets off his high horse, accepts his mistake in signing over his life to Allen Klein in the early days and just lets bygones be bygones, then for those 60s studio outtakes the bootleggers are going to be in business for a long time to come.

He could at least swallow his eternal pride and make a few dimes and improve on what the bootleggers have been providing for years.

Yeah but I'd say Mick is kinda saying that ABKCO are the gang on the high horses ....



ROCKMAN

Quote
stonehearted

Quote
Cristiano Radtke
Mick talks about "On Air" on the newest Mojo magazine (February 2018)

It's very telling that the interviewer has more words in the interview than the interviewee.

Mick should forget about trying to be so "current" and just learn to appreciate his body of work -- just bite the bullet and get "super involved" with ABKCO and celebrate the legacy of what made them so essential to begin with.

I have the 2-disc version of this new and official release -- the first disc is great, Bill Wyman right up front and center in the that big booming mono bass fashion -- the "Disc 2 - Bonus Tracks", well not so much, barely less than bootleg quality. But the first disc is worth the price of admission for sure, at last a "true blue" version of what's been heard on bootlegs all these years.

But until Mr. Jagger gets off his high horse, accepts his mistake in signing over his life to Allen Klein in the early days and just lets bygones be bygones, then for those 60s studio outtakes the bootleggers are going to be in business for a long time to come.

He could at least swallow his eternal pride and make a few dimes and improve on what the bootleggers have been providing for years.

MJ won't invest time for a project he gets almost no money for. If there's a extended BB reissue next year then probably a more or less unauthorized and pretty useless one (like TSMR). Of course without any "new" tracks.



Edited 1 time(s). Last edit at 2017-12-21 14:49 by Monsoon Ragoon.

Slightly Off-Topic, but interesting in regard to The Rolling Stones, The Beatles and others:


"FACEBOOK AND UNIVERSAL MUSIC GROUP STRIKE UNPRECEDENTED GLOBAL AGREEMENT

Empowers Fans to Express Themselves with Music from World’s Greatest Artists Across Facebook, Instagram and Oculus

Enables New Commercial Opportunities for Artists on Leading Social Media Platforms

MENLO PARK and SANTA MONICA, December 21, 2017 — Facebook and Universal Music Group (UMG) today announced an unprecedented global, multi-year agreement under which UMG becomes the first major music company to license its recorded music and publishing catalogs for video and other social experiences across Facebook, Instagram and Oculus.

The partnership will facilitate deeper engagement between artists and fans, empowering users to express themselves through music, share the songs they love and build communities around music-fueled culture. Enabling a variety of features across Facebook’s platforms, the agreement is intended to serve as a foundation for a strategic partnership roadmap that will deliver new music-based experiences online.

Tamara Hrivnak, Head of Music Business Development and Partnerships, Facebook, said, “There is a magnetic relationship between music and community building. We are excited to bring that to life on Facebook, Instagram, Oculus and Messenger in partnership with UMG. Music lovers, artists and writers will all be right at home as we open up creativity, connection and innovation through music and video.”

Michael Nash, Executive Vice President of Digital Strategy, Universal Music Group, said, “Together, Facebook and UMG are creating a dynamic new model for collaboration between music companies and social platforms to advance the interests of recording artists and songwriters while enhancing the social experience of music for their fans. This partnership is an important first step demonstrating that innovation and fair compensation for music creators are mutually reinforcing – they thrive together. We look forward to Facebook becoming a significant contributor to a healthy ecosystem for music that will benefit artists, fans and all those who invest in bringing great music to the world.”

Under this partnership, users will be able to upload videos that contain licensed music and personalize their music experiences on Facebook, Instagram and Oculus, while sharing videos with friends and family. In time, functionality will expand to enable access to a vast library of music across a series of social features.

Going forward, the companies will experiment hand-in-hand to introduce new music-based products to these Facebook platforms, including Messenger, with the goal of catalyzing innovation to develop the next generation of music products that best engage social consumers." -- [www.UniversalMusic.com]



Update 8-Jan-2018: Facebook did now a similar deal with Sony/ATV Music Publishing and licensed 3 million songs -- [www.SonyATV.com] .



Edited 1 time(s). Last edit at 2018-01-09 15:50 by Irix.

Any promo verdion of 'On Air'?

Quote
stonehearted

Quote
Cristiano Radtke
Mick talks about "On Air" on the newest Mojo magazine (February 2018)

It's very telling that the interviewer has more words in the interview than the interviewee.

Mick should forget about trying to be so "current" and just learn to appreciate his body of work -- just bite the bullet and get "super involved" with ABKCO and celebrate the legacy of what made them so essential to begin with.

I have the 2-disc version of this new and official release -- the first disc is great, Bill Wyman right up front and center in the that big booming mono bass fashion -- the "Disc 2 - Bonus Tracks", well not so much, barely less than bootleg quality. But the first disc is worth the price of admission for sure, at last a "true blue" version of what's been heard on bootlegs all these years.

But until Mr. Jagger gets off his high horse, accepts his mistake in signing over his life to Allen Klein in the early days and just lets bygones be bygones, then for those 60s studio outtakes the bootleggers are going to be in business for a long time to come.

He could at least swallow his eternal pride and make a few dimes and improve on what the bootleggers have been providing for years.

Yeah, it looks like there's a lot of (hurt) pride involved on the Stones' (Jagger's) side. I just can't see that ABKCO is blocking things or making them "difficult" or near impossible as Mick seems to imply. Why would they? They are a corporation and as such, interested in making money. Expanded editions of their 60's albums would sell profitable quantities, and the fact that ABKCO needs permission from the Stones to use any unreleased tracks leads to the conclusion that a fair financial deal could be arranged if there was a will on the Stones side. But the longer they wait...it sureley does not help sales.

Apart from that, what strikes me is the the fact that something does not quite add up in Mick's Mojo interview: He mentions that On Air is not a Stones (Promotone) project, but was initiated by the BBC "who could have done it anyway" (because the material is out of copyright), but a look at the sleeve copyright notes tells a different story, yet Mick claims that he was not very involved (so any blame for any shortcomings would not go to him, but to "anonymous" people responsible for the project?). My take is that he was a lot more involved than he pretends, but not willing to invest the time to make it right because On Air most likely won't earn him millions. Anyway, it's telling how the band is handling their legacy.



Edited 2 time(s). Last edit at 2017-12-22 18:26 by retired_dog.

You would think Mick might be more willing to reach an agreement to release some of the ABKO stuff even if he's not making millions from it. It would keep his name and the band in the press, and it would teach the youth to have more of an appreciation of the Stones early years and legacy - possibly resulting in more Stones material being gobbled up from all eras which could make a profit for Mick/the Stones. It might also have led to better sales of Getta Grip for example, although that theory could also backfire - if someone heard and hated Getta Grip, not as likely they would be interested in anything from Mick and/or the bands past history. Don't want to say Getta Grip has tainted the legacy as there's enough from the past few decades which is already doing the job, but releasing more historical archives from the vault helps to balance it all out. Mick should realize this.

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

According to Universal, the album has sold 61,000 copies worldwide during the first week, December 1-7.

In the UK, the album is #64 selling over 4,100 copies last week.

Chart run: 27-50-64
Sales: 17,900

On Air - Chart Run in Germany (Dec 8, 2017 - Jan 19, 2018 ): 10-19-24-35-44-49-78

[www.OffizielleCharts.de]

Quote
Hairball
You would think Mick might be more willing to reach an agreement to release some of the ABKO stuff even if he's not making millions from it. It would keep his name and the band in the press, and it would teach the youth to have more of an appreciation of the Stones early years and legacy - possibly resulting in more Stones material being gobbled up from all eras which could make a profit for Mick/the Stones. It might also have led to better sales of Getta Grip for example, although that theory could also backfire - if someone heard and hated Getta Grip, not as likely they would be interested in anything from Mick and/or the bands past history. Don't want to say Getta Grip has tainted the legacy as there's enough from the past few decades which is already doing the job, but releasing more historical archives from the vault helps to balance it all out. Mick should realize this.

Although it's already too late to generate millions in sales, further archive mining projects - and this includes ABKCO and Promotone material - will have to happen within the next decade to generate at least decent returns for everyone involved. After that, I can't see how they could exploit their archives in a way that makes it worth their while, except for the glory, and with that being the sole possible intention left I have my doubts. Of course they cannot release everything at once, but with every passing year the chance that they are deliberately holding great material back for future exploitation are diminishing considerably. They should have started their archive mining around the same time Dylan started his bootleg series - more than a decade earlier. By doing so, Dylan has already managed to bring a wealth of material that people really want to his fans by now without overflooding the market - and there's more to come.



Edited 1 time(s). Last edit at 2017-12-23 08:57 by retired_dog.

VOODOO LOUNGE has got 10 bootlegs cds lotof the songs are very good and could have been put out as double cd,diffrent songs then the orginal VOODOO LUNGE CD,plus diff versions too.Merry xmas to e.one have agood one.

Quote
kish_stoned
VOODOO LOUNGE has got 10 bootlegs cds lotof the songs are very good and could have been put out as double cd,diffrent songs then the orginal VOODOO LUNGE CD,plus diff versions too.Merry xmas to e.one have agood one.

Jagger claims these bootlegs is what made those tracks NOT commercially viable. Yet England Lost and Get a Grip are??? Look what happened with CBS contract, he had a solo album out before Dirty Work and was already working on a second one during the time Dirty Work finally came out. Very frustrating how he thinks sometimes. Let's face it, our band is a Brand and considering how business smart he is, he has not figured out how to maximize his own product. At this time, it is people like us (the true customer base) that are going to buy the Rolling Stones product. I could be wrong. I wish I was wrong. Can someone please prove me wrong? I would feel a lot better.

What I finally ordered was the London Calling release. It has far more tracks than the official release for less money. The quality varies from (poor) g-vg soundboard for some tracks to official sound, but the poor recordings are probably not available better and missing on the official counterpart. It also has a nice booklet. I don't think the DAC or Godfather releases are really better.

STONES have a lot of unrealesed songs in vault but they lazy too hear them, world war 3/4/5 is going on.They making more money touring and on T.shirts, new music is secondary now.The blues album was brilliant.For band like the stones its sad no new music for 12 years, hopefully the new album in 2018 will be great treat for the fans. KEEP ROCKING.

One of the things I really notice on these 1964-1965 recordings:
Keith’s choir trained soprano singing

Quote
Monsoon Ragoon
What I finally ordered was the London Calling release. It has far more tracks than the official release for less money. The quality varies from (poor) g-vg soundboard for some tracks to official sound, but the poor recordings are probably not available better and missing on the official counterpart. It also has a nice booklet. I don't think the DAC or Godfather releases are really better.

A good choice.

Quote
ash

Quote
24FPS
Jesus H. Christ. I just heard Walking The Dog, Little by Little, and Ain't That Loving You Baby. What a rhythm section. Now I see what the Stones had the Beatles never could pull off, danger.

Danger ? I thought you were going to say the ability to mis-label tracks, use inferior sources and end the song on a sloppy drum fill.
But seriously, both groups had superb rhythm sections enabling the band to do their thing which in the Fab4's case was principally vocals and songwriting. Everything else is the accompaniment. In the Stones case they were more of a big noise unit (er?) - Get Off Of My Cloud 45 mix being perhaps the prime example and yes indeed, extremely dangerous if not downright threatening in the same way the Jumping Jack Flash single is.
What struck me on revisiting these BBC tracks is that on the first session, Charlie doesn't seem quite there yet, many of his fills are way off but Bill is already pretty much right on it. Both versions of Roll Over Beethoven (Saturday Club and the January 64 Go Man Go) show Charlie not quite on it for my money.
By Spring/mid 64 the whole band has improved massively in confidence,strength and unity and seem to have a clear idea about where they should be going even if they haven't got their songwriting together.
Bill's bass on Aint That Loving You Baby has always been a favourite of mine but he shines throughout. What remained for the Stones to do at this point (mid-64) was to Taylor (!) their own songs to their new-found strength and group identity on a regular basis. Funnily enough, by that point (Spring 64) they'd been together (if not played) for the requisite 10,000 hours or 416 days-ish. By the time they arrived at Chess they were shit hot. The BBC tracks give us the chance to hear a bit of that development. Much as I love later Stones (1965,66,67,68,69,70,71,72), I've always thoroughly enjoyed their 1964 output. Not quite there but just about to quantum leap which in my opinion happened with Satisfaction. That is their "She Loves You" moment. I'm gonna have to agree with you on danger now aren't I ?!

Correct me if I am wrong, but according to Bill Wyman's spoken words on my old vinyl bootleg STONES AT THE BEEP, which does not cover anything that the Stones did for BBC, as far as I remember this without searching for that boot, Charlie and possibly also Bill himself did not take part in all the BBC sessions. The reason was that both Charlie and Bill had normal paid jobs and were not always able to turn up. In their place a couple of other musicians were used as stand-ins. I don't remember their names precisely, but something like Carlo Little vaguely emerges in my mind.

Quote
Witness

Quote
ash

Quote
24FPS
Jesus H. Christ. I just heard Walking The Dog, Little by Little, and Ain't That Loving You Baby. What a rhythm section. Now I see what the Stones had the Beatles never could pull off, danger.

Danger ? I thought you were going to say the ability to mis-label tracks, use inferior sources and end the song on a sloppy drum fill.
But seriously, both groups had superb rhythm sections enabling the band to do their thing which in the Fab4's case was principally vocals and songwriting. Everything else is the accompaniment. In the Stones case they were more of a big noise unit (er?) - Get Off Of My Cloud 45 mix being perhaps the prime example and yes indeed, extremely dangerous if not downright threatening in the same way the Jumping Jack Flash single is.
What struck me on revisiting these BBC tracks is that on the first session, Charlie doesn't seem quite there yet, many of his fills are way off but Bill is already pretty much right on it. Both versions of Roll Over Beethoven (Saturday Club and the January 64 Go Man Go) show Charlie not quite on it for my money.
By Spring/mid 64 the whole band has improved massively in confidence,strength and unity and seem to have a clear idea about where they should be going even if they haven't got their songwriting together.
Bill's bass on Aint That Loving You Baby has always been a favourite of mine but he shines throughout. What remained for the Stones to do at this point (mid-64) was to Taylor (!) their own songs to their new-found strength and group identity on a regular basis. Funnily enough, by that point (Spring 64) they'd been together (if not played) for the requisite 10,000 hours or 416 days-ish. By the time they arrived at Chess they were shit hot. The BBC tracks give us the chance to hear a bit of that development. Much as I love later Stones (1965,66,67,68,69,70,71,72), I've always thoroughly enjoyed their 1964 output. Not quite there but just about to quantum leap which in my opinion happened with Satisfaction. That is their "She Loves You" moment. I'm gonna have to agree with you on danger now aren't I ?!

Correct me if I am wrong, but according to Bill Wyman's spoken words on my old vinyl bootleg STONES AT THE BEEP, which does not cover anything that the Stones did for BBC, as far as I remember this without searching for that boot, Charlie and possibly also Bill himself did not take part in all the BBC sessions. The reason was that both Charlie and Bill had normal paid jobs and were not always able to turn up. In their place a couple of other musicians were used as stand-ins. I don't remember their names precisely, but something like Carlo Little vaguely emerges in my mind.

ash is referring to the first broadcast session, Saturday Club on September 23, 1963.
The session that you are referring to is the BBC audition on April 23, 1963 when Rickie Fenson and Carlo Little stood in for Bill and Charlie.
This is the audition that they failed because it "was not considered suitable for our purposes"!
I very much doubt that this recording still exists.


"As we say in England, it can get a bit trainspottery"



Edited 1 time(s). Last edit at 2017-12-23 23:21 by Deltics.

That is correct thanks Deltics.
When I said Charlie wasn't there yet I purely meant in musical terms. His fills are all over the place on that first BBC session but he was there in body ! Maybe he was nervous that day or just didn't play well. No such problems on the other BBC sessions as far as I remember.

Then I want to thank you, Deltics, for correcting my wrong hypothesis.

Added: And I see from your postal history, ash, that you could have done so yourself if you had read my post first. ( By the way, I had only read the few last pages of the thread before I entered my post. In a thread so factsbased as I see that this is, that was an unwise move.)



Edited 1 time(s). Last edit at 2017-12-24 02:43 by Witness.

Hey there,

what is your take on the RS store? My yellow On Air vinyl was dispatched Dec 5th and nothing has arrived here in Germany so far...

Cheers
Schwonek

See here: [iorr.org] .

Quote
Irix
See here: [iorr.org] .

Damn it. Thanks, Irix.

Deluxe available at HMV in Great Britain for £9.99.

Quote
Harlem Shuffler
Deluxe available at HMV in Great Britain for £9.99.

Yes picked up a copy today. Still waiting on my yellow vinyl lp from the RS Store. Will never order anything from there again.

In stock

Yellow vinyl [store.digitalstores.co.uk]

"On Air" on the charts (as of 28/12/2017)

#8 The Netherlands (8-32-20)
#10 Germany (10-19-24)
#12 Belgium (Flanders) (12-18-15)
#13 Argentina (13-14-out)
#16 Japan (16-37-70-100) (11,000 copies sold)
#19 Austria (19-34)
#20 Scotland (20-42-58)
#22 Sweden (22-43-out)
#22 Swiss (22-31-46)
#22 Italy (22-51-70)
#23 Spain (23-43-56)
#23 Belgium (Wallonia) (32-23-31)
#24 Norway (29-24-out)
#27 United Kingdom (27-50-64) (19,000 copies sold)
#30 Wales (30-53-78)
#36 Ireland (36-out)
#40 Czech Repiblic (40-70)
#44 New Zealand (44-out)
#47 United States (47-107-183) (28,543 copies sold + 2000 stream points = 30,500 sales)
#47 Greece (60-47)
#54 France (54-74-74) (10,000 copies sold)
#54 Australia (54-97-89)
#58 Canada (58-82-out)

Also
#3 Croatia (International Albums)
#9 South Korea (International Albums)

World Wide sales:
Week 01 - 61,000 (source Universal)

I come late to the discussion on the substance of these new products - book and CD . This is due to the delay imposed by Santa's agent on Earth.

I'm very underwhelmed by both the book and the CDs

There's not a lot of good primary source research in the book - masses of it is simply the distillation of other sources.

Also, although there are some good rare/unpublished images, most of the images of text from (typically) the music press look like nth generation photocopies of faxed copies, and as such are unreadable.

The album tracks simply don't cut it for me. The bootlegs I've already got of these tracks (eg "Cops & Robbers" and "IBC Demos") are EXCITING - all of these new releases sound 'flat'. Hundreds of posting back Rockman quoted from the "Cops & Robbers track, my favourite quote is another one...."We're going to throw you so far back into the cell that they'll have to pump air into you". Cracks me up every time - but not on this release.

You can't blame the machine at Abbey Road as that has worked wonders for the 50th Anniversary release of Sgt Pepper and the 5.1 tracks on the "Love" album.

It's a Sad Day.

--
Captain Corella
60 Years a Fan