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Rocky Dijon

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Maindefender
There are only 6 bonus cuts, one at 3:12. The other 5 must be lengthy or does the 60 minutes include all future releases??? Hopefully we see the other stuff within 2-1/2 years.

I think what he was saying was he started with 6 hours of outtakes from the TALK IS CHEAP sessions and brought Steve Jordan an hour's worth of outtakes to consider for release. I imagine it was pared down further from there. I don't think the Sessions disc runs 60 minutes. It would be nice. Maybe if the untitled blues jam runs 45 minutes, but I'm guessing the whole thing clocks in around 25 minutes.

The other two Deluxe Editions are coming over the next couple of years.

Thanks, makes sense. I trust Jordan to make the right selections. I watched the wonderful Under the Influence over the weekend. Tom Waits discusses how precious even the group tuning up jams can be because it's something you'll probably never hear again and they are essentially songs. There were a couple of those in the movie for sure.....no doubt for TIC and Main Offender.

the signed one is gone..... out of stock......

i hope it's not autopen for that price!

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Rocky Dijon

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Maindefender
There are only 6 bonus cuts, one at 3:12. The other 5 must be lengthy or does the 60 minutes include all future releases??? Hopefully we see the other stuff within 2-1/2 years.

I think what he was saying was he started with 6 hours of outtakes from the TALK IS CHEAP sessions and brought Steve Jordan an hour's worth of outtakes to consider for release. I imagine it was pared down further from there. I don't think the Sessions disc runs 60 minutes. It would be nice. Maybe if the untitled blues jam runs 45 minutes, but I'm guessing the whole thing clocks in around 25 minutes.

The other two Deluxe Editions are coming over the next couple of years.

The jam (supposedly with Taylor) runs 10 minutes..

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damnation
the signed one is gone..... out of stock......

i hope it's not autopen for that price!

$749.00 US

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PhillyFAN
Which one Dandy?

With Taylor? I read that it was "Blues Jam".

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Maindefender

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damnation
the signed one is gone..... out of stock......

i hope it's not autopen for that price!

$749.00 US

Indeed, still available in the US store: [store.keithrichards.com]
But no longer in the UK/EUR store.

can't wait

Chuck Berry or Johnnie Johnson?
[m.youtube.com]
What is Keith saying? Johnnie Johnson has is own unique ‘riff’ type style of piano and the guitar followed him?

Keith's remarks came from Stu's observation that Chuck Berry played boogie-woogie piano transcribed to guitar. Taylor Hackford does a good job as a director in cutting Bruce Springsteen's memory of playing with Chuck early in Bruce's career and being lost by the strange keys Chuck will play in. The film plays out a compelling narrative where young Chuck joins The Johnnie Johnson Trio and takes over the band. Chuck steals Johnnie's improvised boogie-woogie music and makes music history by marrying it with literate, poetical lyrics that belie his humble beginnings. Poor Johnnie is unaware he's actually a songwriter. The film shows Johnnie in 1986 working as a retired bus driver for senior citizens until Keith tracks him down and reunites him with Chuck after decades for the sake of authenticity to do Chuck's 60th birthday up right.

It's a great story in a great film. Unfortunately, it's not exactly the truth, the whole truth, and nothing but the truth.

Did Chuck take his signature sound from boogie-woogie piano? Of course he did. Chuck never hid that boogie-woogie was his musical inspiration (especially Louis Jordan) just as Cole Porter and Irving Berlin inspired him to aim higher with his lyrical wordplay. The story Taylor Hackford paints completely omits the contributions of Lafayette Leake who was as much a part of Chuck's seminal work for Chess Records in the 1950s as Johnnie Johnson. And as for Keith rescuing Johnnie from obscurity, the truth is Johnnie played on recordings with Chuck as late as 1979 and toured with him practically right up to the time the film was staged in 1986.

Much like Robert Frank's "C*ckscker Blues" documentary, it's important to remember Taylor Hackford's film is just that - staged. Everything from the "tense" rehearsals with Steve Jordan's wide-eyed faux hysteria to Keith's heroic revelations of how Chuck, another victim of Lead Vocalist Syndrome, further victimized poor Johnnie Johnson who really wrote the music to Chuck's classic songs. It was great P.R. for Keith and more of Jane Rose's very successful rehabilitation of Keith's public makeover from brain-damaged drug casualty to rock's Dionysius, the only honest man in a corrupt world.

It served Keith well. It did good and bad for Chuck, a man whose understandable cynicism kept authorities (and sometimes the public) wary of him and ensured it wasn't easy for him to conquer his own demons. Some may recall an interview with Keith from 1988 where he mentions the strangeness of rehearsing at Berry Park while Chuck's Dad is watching "The Flintstones" and Chuck is watching a TV screen showing "some chick taking a sh*t." Two years later, Chuck was sued for that very violation of privacy. Just as Taylor Hackford shows Berry explaining no one touches his guitar case when he travels, he was also charged in 1990 for smuggling marijuana in his guitar case when he travels. Finally, in 2000 Johnnie Johnson sued Chuck for having ripped off "his" music decades before.

Talk about getting even for a black eye.

Was Chuck a man who was sometimes controlled by his demons? Of course he was. He also lacked an organization behind him to protect him, bail him out, hush up negative publicity. He did time for his crimes and was tired of always being the one guy who never got away with anything while his peers got away with murder (sometimes literally). Yes, he had a chip on his shoulder that made him difficult to deal with.

I love hearing Johnnie Johnson play (as I do Lafayette Leake), but at no point do I think he could have turned out "Johnny B. Goode" on his own. A great player, but not a songwriter or a frontman. Chuck got the raw deal yet again. He turned 60 and everyone said, "Hail, Hail" and then crucified him the next day. Just like always. Just like he expected they would. He wasn't wrong either.

_____________________________________________________________________________________________________________________



Edited 2 time(s). Last edit at 2019-01-17 02:38 by Rocky Dijon.

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retired_dog

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GasLightStreet

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DandelionPowderman

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GasLightStreet
Excellent. Finally a great reissue. It's too bad no Stones album has had this kind of treatment.

Sticky Fingers, Exile and Some Girls spring to mind?

Not really, not in this kind of way.

SF was just a few different takes, nothing significant regarding other songs.

EOMS was too short, with only 6 previously unreleased tracks.

SG wasn't representative of 1977-78 in an accurate way since it included 2 tracks from what became ER sessions.

All good in the sense of how we understand how they operate but, in general, letdowns compared to how other releases are handled. They have so much leftover material and that's what they released? They did a pretty poor job, really, considering that aspect.

Yes, in terms of bonus material, the Stones never give you the full meal like other artists, you get only a handful of rice...

...at a time, that is. They simply don't clear their, let's say Some Girls-era vaults by throwing everything out at one in one giant box set.

First, there is this obvious strategy to make the most of their vaults by not releasing all too much at once or in a very short period of time.

Then, there's lots of studio material that while being interesting in strictly musical terms has, if at all, only tentative guide vocals (often with unfinished or fantasy lyrics consisting of good sounding words that make no sense), so it's probably understandable that they - the singer in particular - don't want it our in this rough form. In other words - interesting material that requires further work to make it releasable.

Which is the problem - other artists have NO PROBLEM with that aspect. They know - hell, they probably have them - those tracks have been bootlegged. So why not present them in a high quality release? It's unfortunate. "Oh we're a working band, still moving forward." SHUT UP.

Rocky Dijon, I thank you for your time.

Gas Light Street, don’t flak me, but I often loathe an unfinished RS song.
Unfinished meaning
No vocal or
Drunk slurry vocal
Sorry

Sorry if you spent the time reading that essay, 35love. You should know better at this late date. I'm procrastinating from doing something more important when I go off like that for endless paragraphs.

yeh man i didn't want to be the one to say it, (but heck, I'll pile on if there's an opening I guess,) cause that guy goes ON AND ON and wtf up with that!?

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Rocky Dijon
Sorry if you spent the time reading that essay, 35love. You should know better at this late date. I'm procrastinating from doing something more important when I go off like that for endless paragraphs.

Really, I been on here all day avoiding dreary things. I can’t believe how effortlessly your intelligence comes through with words.
How’s that for a nice compliment.
‘You shouldn’t take it so hard’ my segue to current topic and off the thread.

I’m happy to scroll my fretting finger from the bottom to the top of the screen to read another insightful comment by RJ

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Rocky Dijon
Keith's remarks came from Stu's observation that Chuck Berry played boogie-woogie piano transcribed to guitar. Taylor Hackford does a good job as a director in cutting Bruce Springsteen's memory of playing with Chuck early in Bruce's career and being lost by the strange keys Chuck will play in. The film plays out a compelling narrative where young Chuck joins The Johnnie Johnson Trio and takes over the band. Chuck steals Johnnie's improvised boogie-woogie music and makes music history by marrying it with literate, poetical lyrics that belie his humble beginnings. Poor Johnnie is unaware he's actually a songwriter. The film shows Johnnie in 1986 working as a retired bus driver for senior citizens until Keith tracks him down and reunites him with Chuck after decades for the sake of authenticity to do Chuck's 60th birthday up right.

It's a great story in a great film. Unfortunately, it's not exactly the truth, the whole truth, and nothing but the truth.

Did Chuck take his signature sound from boogie-woogie piano? Of course he did. Chuck never hid that boogie-woogie was his musical inspiration (especially Louis Jordan) just as Cole Porter and Irving Berlin inspired him to aim higher with his lyrical wordplay. The story Taylor Hackford paints completely omits the contributions of Lafayette Leake who was as much a part of Chuck's seminal work for Chess Records in the 1950s as Johnnie Johnson. And as for Keith rescuing Johnnie from obscurity, the truth is Johnnie played on recordings with Chuck as late as 1979 and toured with him practically right up to the time the film was staged in 1986.

Much like Robert Frank's "C*ckscker Blues" documentary, it's important to remember Taylor Hackford's film is just that - staged. Everything from the "tense" rehearsals with Steve Jordan's wide-eyed faux hysteria to Keith's heroic revelations of how Chuck, another victim of Lead Vocalist Syndrome, further victimized poor Johnnie Johnson who really wrote the music to Chuck's classic songs. It was great P.R. for Keith and more of Jane Rose's very successful rehabilitation of Keith's public makeover from brain-damaged drug casualty to rock's Dionysius, the only honest man in a corrupt world.

It served Keith well. It did good and bad for Chuck, a man whose understandable cynicism kept authorities (and sometimes the public) wary of him and ensured it wasn't easy for him to conquer his own demons. Some may recall an interview with Keith from 1988 where he mentions the strangeness of rehearsing at Berry Park while Chuck's Dad is watching "The Flintstones" and Chuck is watching a TV screen showing "some chick taking a sh*t." Two years later, Chuck was sued for that very violation of privacy. Just as Taylor Hackford shows Berry explaining no one touches his guitar case when he travels, he was also charged in 1990 for smuggling marijuana in his guitar case when he travels. Finally, in 2000 Johnnie Johnson sued Chuck for having ripped off "his" music decades before.

Talk about getting even for a black eye.

Was Chuck a man who was sometimes controlled by his demons? Of course he was. He also lacked an organization behind him to protect him, bail him out, hush up negative publicity. He did time for his crimes and was tired of always being the one guy who never got away with anything while his peers got away with murder (sometimes literally). Yes, he had a chip on his shoulder that made him difficult to deal with.

I love hearing Johnnie Johnson play (as I do Lafayette Leake), but at no point do I think he could have turned out "Johnny B. Goode" on his own. A great player, but not a songwriter or a frontman. Chuck got the raw deal yet again. He turned 60 and everyone said, "Hail, Hail" and then crucified him the next day. Just like always. Just like he expected they would. He wasn't wrong either.

Not to derail this thread about a re-release of a fantastic album but Berry got into trouble more than once for pursuing that "hobby".

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35love
Rocky Dijon, I thank you for your time.

Gas Light Street, don’t flak me, but I often loathe an unfinished RS song.
Unfinished meaning
No vocal or
Drunk slurry vocal
Sorry

That's too bad, because they have some fantastic unfinished songs.

-



Edited 1 time(s). Last edit at 2019-01-17 05:07 by retired_dog.

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Rocky Dijon
Keith's remarks came from Stu's observation that Chuck Berry played boogie-woogie piano transcribed to guitar. Taylor Hackford does a good job as a director in cutting Bruce Springsteen's memory of playing with Chuck early in Bruce's career and being lost by the strange keys Chuck will play in. The film plays out a compelling narrative where young Chuck joins The Johnnie Johnson Trio and takes over the band. Chuck steals Johnnie's improvised boogie-woogie music and makes music history by marrying it with literate, poetical lyrics that belie his humble beginnings. Poor Johnnie is unaware he's actually a songwriter. The film shows Johnnie in 1986 working as a retired bus driver for senior citizens until Keith tracks him down and reunites him with Chuck after decades for the sake of authenticity to do Chuck's 60th birthday up right.

It's a great story in a great film. Unfortunately, it's not exactly the truth, the whole truth, and nothing but the truth.

Did Chuck take his signature sound from boogie-woogie piano? Of course he did. Chuck never hid that boogie-woogie was his musical inspiration (especially Louis Jordan) just as Cole Porter and Irving Berlin inspired him to aim higher with his lyrical wordplay. The story Taylor Hackford paints completely omits the contributions of Lafayette Leake who was as much a part of Chuck's seminal work for Chess Records in the 1950s as Johnnie Johnson. And as for Keith rescuing Johnnie from obscurity, the truth is Johnnie played on recordings with Chuck as late as 1979 and toured with him practically right up to the time the film was staged in 1986.

Much like Robert Frank's "C*ckscker Blues" documentary, it's important to remember Taylor Hackford's film is just that - staged. Everything from the "tense" rehearsals with Steve Jordan's wide-eyed faux hysteria to Keith's heroic revelations of how Chuck, another victim of Lead Vocalist Syndrome, further victimized poor Johnnie Johnson who really wrote the music to Chuck's classic songs. It was great P.R. for Keith and more of Jane Rose's very successful rehabilitation of Keith's public makeover from brain-damaged drug casualty to rock's Dionysius, the only honest man in a corrupt world.

It served Keith well. It did good and bad for Chuck, a man whose understandable cynicism kept authorities (and sometimes the public) wary of him and ensured it wasn't easy for him to conquer his own demons. Some may recall an interview with Keith from 1988 where he mentions the strangeness of rehearsing at Berry Park while Chuck's Dad is watching "The Flintstones" and Chuck is watching a TV screen showing "some chick taking a sh*t." Two years later, Chuck was sued for that very violation of privacy. Just as Taylor Hackford shows Berry explaining no one touches his guitar case when he travels, he was also charged in 1990 for smuggling marijuana in his guitar case when he travels. Finally, in 2000 Johnnie Johnson sued Chuck for having ripped off "his" music decades before.

Talk about getting even for a black eye.

Was Chuck a man who was sometimes controlled by his demons? Of course he was. He also lacked an organization behind him to protect him, bail him out, hush up negative publicity. He did time for his crimes and was tired of always being the one guy who never got away with anything while his peers got away with murder (sometimes literally). Yes, he had a chip on his shoulder that made him difficult to deal with.

I love hearing Johnnie Johnson play (as I do Lafayette Leake), but at no point do I think he could have turned out "Johnny B. Goode" on his own. A great player, but not a songwriter or a frontman. Chuck got the raw deal yet again. He turned 60 and everyone said, "Hail, Hail" and then crucified him the next day. Just like always. Just like he expected they would. He wasn't wrong either.

I had to read that 6 times. Maybe it's strange but it makes me feel kinda sad for Chuck.

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hopkins
yeh man i didn't want to be the one to say it, (but heck, I'll pile on if there's an opening I guess,) cause that guy goes ON AND ON and wtf up with that!?

I know, hopkins. There's a reason he deserved the quote in his signature.

_____________________________________________________________________________________________________________________

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hopkins
yeh man i didn't want to be the one to say it, (but heck, I'll pile on if there's an opening I guess,) cause that guy goes ON AND ON and wtf up with that!?

There's no opening.

But, however, in general, to basically, overall, answer your question, there's a voluntary feature on your laptop or PC or tablet or phone or from the sound of it, your brick wall, that is called scroll, which allows one to zoom past something they don't want to see, watch or read.

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GasLightStreet

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35love
Rocky Dijon, I thank you for your time.

Gas Light Street, don’t flak me, but I often loathe an unfinished RS song.
Unfinished meaning
No vocal or
Drunk slurry vocal
Sorry

That's too bad, because they have some fantastic unfinished songs.

Right, it was too big a blanket statement/ a lot I haven't heard, for sure.
Lucky for us, Jagger’s voice is ready with his full notebook?

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GasLightStreet

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Rocky Dijon
Keith's remarks came from Stu's observation that Chuck Berry played boogie-woogie piano transcribed to guitar. Taylor Hackford does a good job as a director in cutting Bruce Springsteen's memory of playing with Chuck early in Bruce's career and being lost by the strange keys Chuck will play in. The film plays out a compelling narrative where young Chuck joins The Johnnie Johnson Trio and takes over the band. Chuck steals Johnnie's improvised boogie-woogie music and makes music history by marrying it with literate, poetical lyrics that belie his humble beginnings. Poor Johnnie is unaware he's actually a songwriter. The film shows Johnnie in 1986 working as a retired bus driver for senior citizens until Keith tracks him down and reunites him with Chuck after decades for the sake of authenticity to do Chuck's 60th birthday up right.

It's a great story in a great film. Unfortunately, it's not exactly the truth, the whole truth, and nothing but the truth.

Did Chuck take his signature sound from boogie-woogie piano? Of course he did. Chuck never hid that boogie-woogie was his musical inspiration (especially Louis Jordan) just as Cole Porter and Irving Berlin inspired him to aim higher with his lyrical wordplay. The story Taylor Hackford paints completely omits the contributions of Lafayette Leake who was as much a part of Chuck's seminal work for Chess Records in the 1950s as Johnnie Johnson. And as for Keith rescuing Johnnie from obscurity, the truth is Johnnie played on recordings with Chuck as late as 1979 and toured with him practically right up to the time the film was staged in 1986.

Much like Robert Frank's "C*ckscker Blues" documentary, it's important to remember Taylor Hackford's film is just that - staged. Everything from the "tense" rehearsals with Steve Jordan's wide-eyed faux hysteria to Keith's heroic revelations of how Chuck, another victim of Lead Vocalist Syndrome, further victimized poor Johnnie Johnson who really wrote the music to Chuck's classic songs. It was great P.R. for Keith and more of Jane Rose's very successful rehabilitation of Keith's public makeover from brain-damaged drug casualty to rock's Dionysius, the only honest man in a corrupt world.

It served Keith well. It did good and bad for Chuck, a man whose understandable cynicism kept authorities (and sometimes the public) wary of him and ensured it wasn't easy for him to conquer his own demons. Some may recall an interview with Keith from 1988 where he mentions the strangeness of rehearsing at Berry Park while Chuck's Dad is watching "The Flintstones" and Chuck is watching a TV screen showing "some chick taking a sh*t." Two years later, Chuck was sued for that very violation of privacy. Just as Taylor Hackford shows Berry explaining no one touches his guitar case when he travels, he was also charged in 1990 for smuggling marijuana in his guitar case when he travels. Finally, in 2000 Johnnie Johnson sued Chuck for having ripped off "his" music decades before.

Talk about getting even for a black eye.

Was Chuck a man who was sometimes controlled by his demons? Of course he was. He also lacked an organization behind him to protect him, bail him out, hush up negative publicity. He did time for his crimes and was tired of always being the one guy who never got away with anything while his peers got away with murder (sometimes literally). Yes, he had a chip on his shoulder that made him difficult to deal with.

I love hearing Johnnie Johnson play (as I do Lafayette Leake), but at no point do I think he could have turned out "Johnny B. Goode" on his own. A great player, but not a songwriter or a frontman. Chuck got the raw deal yet again. He turned 60 and everyone said, "Hail, Hail" and then crucified him the next day. Just like always. Just like he expected they would. He wasn't wrong either.

I had to read that 6 times. Maybe it's strange but it makes me feel kinda sad for Chuck.

I also read it about 6 times also....lol. Made me do some fact checking on a couple points that I will leave alone because a two hour movie or 8 paragraphs cannot sum up some one’s life. Hail Hail is so entertaining, and the deluxe version is quite the document.

<Did Chuck take his signature sound from boogie-woogie piano?>

I think the thing was that Chuck lifted THAT riff (and you know which one I'm talking about) off Johnnie.

That riff is as immortal as Keith's I-V open G-riff (a riff he still can get a lot more out of, actually )

Anyone from EU ordered signed version from US?

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bisonvodka
Anyone from EU ordered signed version from US?

It is no big deal to order. Big deal is to face extra charges applied to import goods. You can estimate.
Total = value price + S&H (S&H for such a box will be at least $70 or even more)
VAT = Total * 0.21 (in the EU VAT is between 19% and 23%)
Import duties = (Total + VAT)*0.15 (although, it could be more than 15%, depending on the case)
At the end you will pay Total + VAT + import duties. It could be ~ $1100

Appreciate your hints ironbelly. For sure you are right. I ordered some items in the past but always invoice price was less then 150€ - no tax then. Anyway I remember that customs control opened shipment with Ronnie's box.

wow, i wanna have this one
(on vinyl off course)

Life's just a cocktail party on the street

One of the best versions of this song! Love it, too!

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DandelionPowderman

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Lien
[www.amazon.de]

My Babe

Lovely!

Wasn't that record released in '88? That would make this the 31st anniversary.