When those reissues came out in the miniature LP reproduction sleeves (last millennium), I was disappointed the disk for this did not replicate the picture label, which was an uncommon feature for a Rolling Stones Records lp, which tended to stick to the yellow label with slight variations (e.g., MONKEY GRIP). That moon label would have made for an attractive CD.

DIRTY WORK is another one.

That poster campaign is a pathetic way to court controversy, and surely one of the ultimate lows for the Stones

Quote
peoplewitheyes
That poster campaign is a pathetic way to court controversy, and surely one of the ultimate lows for the Stones

Agreed. I suspect it put me off listening to the album for ages. And of course the album has nothing to do with the poster theme.

Beautiful picture. Sexy woman
Why deny that. It goes with the Stones image.dont be hypocrites n say ooh my god how awful.
Jeroen



Edited 1 time(s). Last edit at 2018-08-16 17:24 by corriecas.

Best album cover ever imho. Fascinating faces, chiseled to perfection.

this one hasn't been posted yet:

Quote
Redhotcarpet

The first photo of the Stones I've ever seen (being barely 9, I remember ) - together with the short info on the band. However it took some time before I finally got to hear any music (in communist Poland it wasn't that easy or obvious - like everything else).

This was when I was at the height of my Stones fandom.I had seen them live for the first time the year before and this was the first new music they had put out since it’s only rock and roll in 74.
What a beautiful album,everything about it just mesmerized me.from memory motel to that choppy rhythm on hey negrita and the funk of hot stuff,there wasn’t a record like it before or since.
That T-shirt Keith is wearing turned me on to Bob Marley which seems funny now but this was 1976.

The S and M poster wasn’t a big deal just some people trying to get attention by using the Stones.they didn’t really beat the girl up it was just a picture.
They toured Europe that year and when they came back to the States it was for Some Girls and my beloved Black and Blue was forgotten.i didn’t see them do one song from it until 23 years later.

Quote
lem motlow

The S and M poster wasn’t a big deal just some people trying to get attention by using the Stones.they didn’t really beat the girl up it was just a picture.

Yeah, they got the attention and played right in to the Stones hands. They got the Stones a lot of attention.

After that controversy was over then Rev Jesse Jackson was on a tirade about black girls just wanna... The Stones know how to get endless press.







Edited 1 time(s). Last edit at 2018-08-21 03:55 by exilestones.

I wonder ... Did they make it over to nearby Captiva to eat and drink at The Mucky Duck?

[www.nytimes.com]

Rolling Stones – Original “Black and Blue” Album Cover Artwork by Hiro

We’re proud to offer one of the finest Rolling Stones items in existence–the
original album cover artwork for the Stones 1976 album Black and Blue. This
is the actual photograph used to produce the album cover, taken by the
legendary Japanese fashion photographer Hiro. As former Atlantic Records Vice
President-Creative Director, Graphics Bob Defrin explains in his letter of
authenticity, An excellent decision, we might add. The photographer, Hiro, is a
highly respected and very collectible photographer in his own right. He has
printed this image only once, in an edition of 10, and these sold out many
years ago at $10,000 . He hasn’t ever sold prints of this photograph
otherwise. As this is the original artwork used to produce this famous album
cover, however, this print is truly unique and historically important. The
images below show the photograph with and without its protective acetate
cover, Hiro’s studio stamp on the bottom right edge of the mount board, and on
the back of the mount, and the entire back of the mount. The print is in
excellent condition and measures 27 3/4 x 18 7/8 inches, and the art board measures
31 1/2 x 21.inches And it’s much more impressive in person than in these
photographs. A truly museum-quality piece of rock history.
Price on Request.














[recordmecca.com]

High Times no 12 Vol 1 1977

I remember being in a record shop (actually The Balcony in 69th Street) and hearing Hand of Fate for the first time. This was the day before the album was released. I was excited, thrilled elated and wanted that album then and there! I had to wait until the next morning to buy it. I was there when they opened.

Previously I hear a short version of "Hot Stuff" and so did my friend who kept teasing me about, 'How the Stones went Disco.' Ah man, I was save by Hand of Fate and Crazy Mama.

Who cared about the ad for the album? We had new Stones music!

Quote
exilestones
I remember being in a record shop (actually The Balcony in 69th Street) and hearing Hand of Fate for the first time. This was the day before the album was released. I was excited, thrilled elated and wanted that album then and there! I had to wait until the next morning to buy it. I was there when they opened.

Previously I hear a short version of "Hot Stuff" and so did my friend who kept teasing me about, 'How the Stones went Disco.' Ah man, I was save by Hand of Fate and Crazy Mama.

Who cared about the ad for the album? We had new Stones music!

I LOVE Black n Blue
Thanks exilestones



Edited 1 time(s). Last edit at 2018-08-26 17:26 by 35love.

Here's now a T-Shirt by the German fashion chain s.Oliver, approx. 2012.
Note that Bill has been removed from the image!



.

Quote
exilestones
I remember being in a record shop (actually The Balcony in 69th Street) and hearing Hand of Fate for the first time. This was the day before the album was released. I was excited, thrilled elated and wanted that album then and there! I had to wait until the next morning to buy it. I was there when they opened.

Previously I hear a short version of "Hot Stuff" and so did my friend who kept teasing me about, 'How the Stones went Disco.' Ah man, I was save by Hand of Fate and Crazy Mama.

Who cared about the ad for the album? We had new Stones music!

Wonderful.

I've heard a rumor for many years about a Hot Stuff 45 picture sleeve with flames on it. Never seen it.
I don't believe it exist. Anyone got any info about the legendary picture sleeve?




Rolling Stones - Hot Stuff [France 1976] RS-19123

The Rolling Stones & Jeff Beck

Shortly after being named a ‘Living Legend’ by Classic Rock Magazine, Jeff Beck
spent some time looking back at his storied career, including an ill-fated
1975 audition for the Rolling Stones.

The Stones were looking to fill the guitarist slot that had recently been
vacated by Mick Taylor. Beck stopped by thinking that he was merely going to
help them out with a couple of tracks for their next record. The fact that he
might be auditioning for the group never crossed his mind.

As he relates in the story, he had been in the studio for two days without
seeing any of the Stones. Looking around the area, he saw a stack of guitars
and thought “odd…how many guitars does Keith need?”

Pianist Ian Stewart told Beck “they’re giving you an audition. They’ve told all
the other guys to f-ck off.”

“Eventually, we got into the same room together and I started playing Bill
Wyman’s bass so hard the dust was flying off. I wandered off and the engineer,
Glyn Johns, said ‘that’s incredible!’ I said: ‘One for the archives, mate. I’m
leaving tomorrow.'”

The group wasn’t happy with Beck’s decision to leave, but he describes the
recording situation back then as “dysfunctional” and says that he couldn’t deal
with the “lack of purpose.”

From their side, the Stones defended their methods as the way they worked as a
unit, but Beck wanted no part of that, saying that “I’m not into chaos.”

“Some people might find it hard to believe that you’d walk away from the Stones
gig, but Keith and I wouldn’t have gone through an album without punching each
other out anyway.”

In the end, Beck was happy with his decision, because he was slated to work
with Beatles producer George Martin on the album that would become Beck’s
‘Blow by Blow.’








Jeff Beck 1975

Sanibel, august 2018 :

[www.nbcnews.com]





Edited 1 time(s). Last edit at 2018-08-30 21:59 by Massimo68.

ROLLING STONES, THE & JEFF BECK – BLACK AND BLUE REHEARSALS
(4CD) GOLDPLATE. GP-1202CD1/2/3/4








ROLLING STONES, THE & JEFF BECK – BLACK AND BLUE REHEARSALS (4CD) GOLDPLATE. GP-1202CD1/2/3/4
This is a Pressing CD

SKU: GW-13313
Categories: Jeff Beck, Rolling Stones
DESCRIPTIONADDITIONAL INFORMATION
Recorded Live From Rolling Stones Mobile Studio Unit At De Doeken,Rotterdam, Netherlands 22nd January,9th February 1975.

[www.discjapan.com]


In the mid-seventies The Rolling Stones experienced another transition. The end of the Mick Taylor era is fraught with misunderstandings, accusations and innuendo. Then the band convened in Rotterdam, The Netherlands in January 1975, they had many musical idea but no guitarist to compliment Keith. Potential replacements included Wayne Perkins, Harvey Mandel, Steve Marriott, Peter Frampton and Ronnie Wood (given his close relationship to Keith would be the obvious choice).

The parade of guitarists reached to such an absurd length during the Black And Blue sessions that Richards later commented about the album, “rehearsing guitar players. That’s what that one was about.”

But the most intriguing candidate for the slot was Jeff Beck. Already famous for his work with The Yardbirds and two incarnations of the Jeff Beck Group (with future Stone Ron Wood), Beck himself was in one of his many transition phases at this time. His latest project Beck, Bogert & Appice dissolved in April 1974, and by the end of that year he began writing and recording instrumental tracks AIR studio with Max Middleton, bassist Phil Chen and drummer Richard Bailey with George Martin producing.

The AIR sessions would eventually be released as Blow By Blow, Beck’s seminal jazz-fusion and one of the classics of seventies rock. But he had a short excursion in Rotterdam jamming with the Stones with some though about actually joining the band. Years later he was reflected on the experience, stating that, if he had joined, “I could have been rich, but I could have not be happy.”

In describing the time, he related that “In those times, The Stones had been staying in Rotterdam, Holland, in relations to tax. One day, they called me and told, ‘Would you like to play your guitar on one or more songs?’ So I went there, but none of The Stones were there (laugh). After three days were gone and I was at the bar in the hotel, and I found pianist Ian Stewart. I told him ‘It’s about time I gotta go back to England.’ In the rehearsals room, there were hundreds of guitars with each players’ name on. I had no intention to try the audition. But Ian said to me that they decided me as a new guitarist for The Stones and therefore the auditions were cancelled.

“I had already decided to record Blow By Blow with George Martin then, and already had reserved the studios. To tell the truth, I had thought of joining the stones, but I had not been much fascinated with their music, so I finally declined their offer. I had never met any member of The Stones and left Rotterdam. I told Stu ‘Ronnie Wood might be the right guy’ but I don’t know that’s why Ronnie joined The Stones at last.”

The only real evidence of this collaboration were a few scattered recordings like “Lady (Sexy Nite)” and “Come On Sugar” found on such titles as Jamming With The Rolling Stones (Scarecrow 061), Black & Blue Sessions (Idol Mind Productions IMP-CD 005), Outtakes 1974-75 (Extremely Rare EXR 002) and Place Pigalle (VGP-362).

In February four hours of jamming from the Rotterdam sessions surfaced. The cassettes were remastered and posted online by CaptainAcid on the IORR website under the title Outside Looking In. Goldplate simply pressed Outside Looking In onto silver for those of us who prefer this format.

These tapes were recorded by two guys outside the mobile truck sticking the microphone into the truck’s mailbox. Under these secret and dangerous conditions, they were able to pick up what sound like playbacks from the day’s rehearsals, as well as the occasional passing truck and a short interview with Mick Jagger and Charlie Watts.

Rolling Stones Mobile Studio Unit At De Doeken, Rotterdam, Netherlands – January 22nd to February 9th, 1975

Disc 1 (62:20): Slow Jam (keef riff), Slow Blues, Slow Jam, 12-Bar Blues, Rock Rhythm #1 (with Jeff Beck), Rock Rhythm #2 (with Jeff Beck), English Rose (vocals longer version), Man Eating Woman (vocals), Funky Jam, Slow Blues, Boogie Jam #1, Boogie Jam #2, Boogie Jam #3, Boogie Jam #4, Jamming With Jeff Beck, I Love Ladies (try out), Outside The Studio – Mick and Charlie Interview

The first disc contains many long jams. These sound like the kind of warm-up exercise the Stones routinely employed when beginning sessions by finding a groove and repeating it with minor variations ad infinitum. The beginning slow warm ups go into straight 12 bar blues which in turn segue into a hard rock jam with Jeff Beck jamming along.

There are several songs with vocals, “English Rose” and “Man-Eating Woman,” a song they demoed in Jamaica in 1972.

The rest of the disc has yet more jam sessions. In the “boogie” jams, it sounds like the band are trying to play the old 1963 Martha And The Vandellas hit “(Love Is Like A) Heatwave.” Several more jams with Beck follow including a run through of “I Love Ladies.” The closing interview with Mick and Charlie is very distorted and hard to follow. It sounds like the tapers are following Mick down the street trying to have a conversation but Jagger is trying to escape!

Disc 2 (68:30): Warm Up Jam, Worried About You #1, Worried About You #2 (rock rhythm), Slow Ballad, Funky Stuff #1, Funky Stuff #2, Freeway Jam #1 (with Jeff Beck), Worried About You, Freeway Jam #2 (with Jeff Beck), Freeway Jam #3 (with Jeff Beck), Rock Rhythm, English Rose (vocals), Man Eating Woman (vocals), Funky Jam (vocals), Slow Blues (vocals), Wind Call #1 (playback), Waiting On A Friend (playback), Save Me (playback), Wind Call #2 (playback), Wind Call #3 (playback), Tops (playback)

The second hour of rehearsal tapes begins with more warm up jams. Much of the disc is occupied with rehearsals and play backs of several songs that wouldn’t surfaced unto Tattoo You in 1981. “Worried About You” was written at this time. The first run through sounds much like it would in its finished forum, but the second take is much smoother with a rock rhythm. By the end of the disc they play other Tattoo You tunes like “Waiting On A Friend” and “Tops” along with other rarities like “English Rose,” “Man Eating Woman” and “Save Me.”

But the interesting jams are in the middle. Instead of playing the new Rolling Stones songs, they jam on the new Jeff Beck tune “Freeway Jam.” One of Beck’s most well-known and melodic pieces, it takes on a new life with the Stones. They first play it straight, as it would be recorded for Blow By Blow later in the month. But they transform it into a Rolling Stones tune.

First introduced is a boogie rhythm on the piano, Beck fits the familiar melody into a boogie woogie and, later on, plays it as a twelve bar blues.

Disc 3 (77:35): Crazy Mama (playback), Crazy Mama (playback – instrumental), I Got A Letter (playback – vocal overdub), Cherry Oh Baby (playback – vocal overdub), Act Together (playback), Act Together (playback – guitar overdub), Fool To Cry (playback with vocal), Melody (longer version – demo vocal), Boogie Jam (hardly audible vocal), Vagina (Slave) #1, Slow Riff, Long Jam, Slow Ballad, Jamming With Jeff Beck, Freeway Jam (with Jeff Beck), Shame Shame Shame, Vagina (Slave) #2, Boogie Jam #1, Boogie Jam #2, Boogie Jam #3

The third disc begins with a bit of dialogue. Someone, Jeff Beck perhaps, states he’s been here for two weeks. Following is about a half hour of playbacks in the studio. Audible are runthroughs of “Crazy Mama,” “Cherry Oh Baby” and the unreleased songs “I Got A Letter” and “Act Together” (more polished takes can be found on Place Pigalle).

The recording becomes more interesting by the end when Beck jams more with the band including another stab at “Freeway Jam.” Unfortunately the tapers were distracted by someone and had to turn the recorder off several times. The final tracks include playbacks of “Slave” and the boogie jam found on the first disc.

Disc 4 (78:16): Monkey Man (riff), Vagina (Slave) #1 (guitar only), Vagina (Slave) #2 (run through different beat), Vagina (Slave) #3 (run through different beat), Vagina (Slave) #4 (guitars only), Vagina (Slave) #5 (run through different beat), Vagina (Slave) #6 (run through different beat), Vagina (Slave) #7, Vagina (Slave) #8, Vagina (Slave) #9, Funky Riff #1, Funky Riff #2, Funky Riff #3, Slow Blues #1, Slow Blues #2, Funky Stuff, Vagina (Slave) #10, Boogie Jam, 12-Bar Blues #1, 12-Bar Blues #2, 12-Bar Blues #3, Funky Rhythm, More Funky Rhythm, Blues With Jeff Beck (12-Bar Blues)

Disc four contains more than an hour of rehearsals focusing on “Slave.” Richards starts off with the main riff and gives it a try in many various tempi with Watts on drums. The session continues with standard blues figures which dissolve into funk. The final track on the disc a blues jam with Jeff Beck joining in with the band.

Black And Blue Rehearsals is manufactured by the Goldplate label, a product of the same people who used to make MBE, Exile, and other related labels. This is certainly an interesting release with a fascinating glimpse into an obscure and misunderstood period in the history of The Rolling Stones. However, given the sound quality and repetitiveness of the material it appeals to the hardcore Stones archaeologist.


[www.collectorsmusicreviews.com]

...the photo of the infamous SM poster is in the Roy Carr 1976 book too....

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