Yer Exile was hyped but not quite as much goats.Sticky no where as much.

For exile, jagger did Larry King live, and it was a week of stones stuff on Jimmy Fallon with both mick and Keith showing up separately. I don’t remember much push behind Some girls as far as interviews. They did a one night theater run of Some Girls in Texas and that was about it as far as I remember

Quote
Bashlets
For exile, jagger did Larry King live, and it was a week of stones stuff on Jimmy Fallon with both mick and Keith showing up separately. I don’t remember much push behind Some girls as far as interviews. They did a one night theater run of Some Girls in Texas and that was about it as far as I remember

Yeah, but Some Girls Live In Texas was not part of the SG Deluxe-release. It would have sold way better if it had been included, imo.

they hardly marketed in the US.....wonder why?

When UMe reissued the 1971-2005 studio catalog, EXILE was held back.

So maybe that's part of why SOME GIRLS wasn't promoted.

Then there's always Keith's view...

That's just going along with record company demands and what's written in the contract.
[timeisonourside.com]

I think the marketing and promoting effort for EXILE was extraordinary, even if we count actual new studio albums (which, of course, were most efficiently marketed by touring in the past). Not just the amount of interviews they did (especially Mick), but also ones in a rather high profile live shows (Fallon, US Today, Larry King). One important factor was STONES IN EXILE document, which they promoted pretty heavily, for example, by entering its premiere. Jagger held a press conference for it in Cannes. Not that it was actually seen initially by that many but it gathered quite a lot of attention in media. There were lots of stories about the 'myth' of EXILE in the press at the time.

The single and video of "Plundered My Soul" was released about a month before the album, getting some nice airplay, and thereby building up the expectations.

Altogether I think they did a good job and managed to build up a nice hype over EXILE.

But with SOME GIRLS it was different. Probably the idea of SOME GIRLS IN TEXAS was to act similarly as STONES IN EXILE did, but seemingly it didn't get that much media interest, and it really it wasn't promoted that much. Just released. Like the album itself. Yeah, Mick and Keith gave some interviews to music journals but nothing even close to EXILE promotion. The single "No Spare Parts" was released a couple of days after, and the video almost a month later.

Why was that?

Probably the timing - November 2011 - was not the best. Jagger had just two months earlier relaesed SuperHeavy album and had spend some time promoting that. Compare that to EXILE project in which Mick had spent about a half year and doing not much else. Keith was in the middle of making CROSSEYED HEART. Then they had different Stones ongoing and upcoming projects as well. They started to release 'bootleg series' with UMG/GoogleMusic - for which Mick and Keith filmed a series of interviews at about the same time, and the relaese of BRUSSELS AFFAIR clashed with SOME GIRLS project. And also at the same time probably both the band and UMG were busy planning the 50th Anniversary year, knowing that the 'big fish' is there. Lots of things were to come. Keith, for example, having just got his chops back, had probably in his mind the upcoming jam in London than going to tv shows to talk about some decades old album (by contrast, when promoting EXILE Keith was more a less a retired musician not having much else than a story to tell - like LIFE, released later in the yaer, literally showed).

It is a good remark by GasLightStreet that EXILE wasn't reissued in the 1971-2005 catalogue by Universal. They seemingly had the deluxe reissue of EXILE in mind alraedy then. That makes one quess that probably they initially considered EXILE project as an individual effort (no contract for other deluxe editions). Or like testing the waters. And then, as it turned out to be such a success, they quickly decided to follow its example. Like Charlie said:

"Oh, I loved it when they said, "You're No. 1". Mick and I thought it was going to be about ten 50-year-olds buying this thing. It's amazing, really, and the documentary was OK; I thought they did a very good job. Mick as well, he did a lot of work on that."

Anyway, as it turned out to be, SOME GIRLS was a pretty rushed project compared to EXILE. STICKY FINGERS years later was a different deal once again. But at that time they were a touring band again, so its promoting was handled differently (and, for example, Mick wasn't interest in finishing old demos any longer). With GOATS HEAD SOUP we are back more to EXILE kind of (heavy) promotion (and 'care-taking' altogether like it is a brandnew Stones studio album). Surely corona has some kind of role there too (although the project was planned, including the opening of the London shop, and seemingly mostly done before it).

So my guess is that SOME GIRLS Deluxe project was a kind of quick project just to follow the example of EXILE and hope for the best with not much extra effort

- Doxa



Edited 7 time(s). Last edit at 2020-09-25 10:42 by Doxa.

Good points, Doxa

GOATS HEAD SOUP Deluxe edition has been now out three weeks. Let's have a look how it is doing in Spotify. Thankfully, chartmasters - by the example of Spotify I guess - is treating the reissue as an individual relaese, so its streams are still seperated from the streams of the old release.

The whole brandnew GHS box has now gained 10,0 million streams (9,988,524 to be precise). Add there about 0,5m from a separate "Scarlet" Single Mix release.

The 'new' tracks are clearly the biggest 'hits'; here we are talking streams in millions.
"Scarlet": 3,9m (2,2 + 1,1 (WOD mix) + 0,1 (Killers mix) + 0,5 (single mix))
"Criss Cross": 1,9m
"All The Rage": 1,5m

Then - long, long way behind - comes the original remixed tracks. We better talk in thousands now. They rank from 121,1k ("Can You Hear The Music"?) to 231,4k streams ("Dancing With Mr. D").

The next 'category' in popularity is the alternative versions. The most popular is Piano Demo version of "100 Years Ago" with its 110,7k streams, followed by intrumental versions of "Mr. D" (89,4k) and "Heartbreaker" (88,9k). And then "Hide Your Love" (83,7k). Of the Johns mixes, "Mr. D" (119,5k) is the most popular, followed by "Silver Train" (88,5k) and "Heartbreaker" (86,4k).

The last category is clearly BRUSSELS AFFAIR. The live cuts are streamed between 83,1k ("Brown Sugar") and 40,5k ("Rip This Joint"). It could be that this legendary live gem is hidden in the GHS release. If it be an seperate, more profilic relaese, it would be discovered more easily. But I wouldn't be surprised that in the long run this category will be do much better in future.

So what we could say of its streaming popularity?

Surely we cannot with its 10,5m streams in three weeks talk about any big hit album if compared to contemporary acts, but still I would say it is doing rather okay. If we compare to what some other 'old farts' are doing in Spotify, The Who's brandnew studio album WHO from last year has been streamed by about equal amount (10,2m), its biggest 'hit' "Ball And Chain" having 2.2m streams, and only two other tracks over 1 million. Dylan's new ROUGH AND ROWDY WAYS has been streamed about twice as much by now (20,7m), each track over 1 million streams, biggest being "I Contain Multitudes" (3,6m).

Of course, The Stones themselves are a hard act to 'beat'. With its two versions "Living In A Ghost Town" has 19,7 million streams alone. Their last studio album BLUE & LONESOME has as huge as 72,2 million streams (tracks varying from 3,2m of "Just Like I Treat You" to 12,6m of "Hate To See You Go"). Even its little brother, the archives release ON AIR, with not much chart history, has now nice 22,5 million streams, with several tracks over 1 million.

Lastly an observation: as the streaming popularity of any 'new' track - "Ghost Town", "Scarlet", "Criss Cross", "All The Rage", all the B&L tracks - show, there is a clear interest, if not even demand, for brandnew Stones music, and not so much on re-mixes or alternative versions of old tracks... knock knock... (however, there is one big exception to a rule: Acoustic Version of "Wild Horses" from STICKY FINGERS Deluxe version has incredible 20,6 million streams!)

- Doxa



Edited 7 time(s). Last edit at 2020-09-25 15:21 by Doxa.

I have a question regarding the red vinyl limited edition......

How come Star Star does not appear on the track listing on the inner sleeve?

Or is this an error and I have the only copy like this, making it a very limited edition?!

Doxa, I'm going to walk out on a limb that doesn't even need to be walked out on: just the GHS deluxe reissue in its entirety will have faded in its streaming numbers by mid October at the latest: it was a huge flavor of the week thing. Scarlet had a lot of press because it crossed thanks to Jimmy Page.

If All The Rage had been released first it probably would have close to equal numbers it has now. Just another unreleased Stones song.

But Jimmy Page...

Consider the past: various Stones albums sold a million or two copies (if you believe the charts back then). So, for example, the fact that whatever is getting 1 to 2 million streams for an album and whatever hundreds of thousands for a single... obviously going just by the Spotify numbers... sales in the past vs interested streams may match up enough.

Then add in reality: so many more people now than 1973 listening to music via streaming. I suppose there will never be a way to know if it's a generational thing or just an interest thing (or both) - and who knows how many people listened to an entire song or album since once you hit play it counts - but if artists want to go by streaming as success strictly as a basis for "they liked it!" then, well, that's great and all but it's probably realistic to say that only bands on big labels can afford to do that.

What does it matter? I think it's closer to being figured out than people realize.

Quote
GasLightStreet
Doxa, I'm going to walk out on a limb that doesn't even need to be walked out on: just the GHS deluxe reissue in its entirety will have faded in its streaming numbers by mid October at the latest: it was a huge flavor of the week thing. Scarlet had a lot of press because it crossed thanks to Jimmy Page.

If All The Rage had been released first it probably would have close to equal numbers it has now. Just another unreleased Stones song.

The way charts work these days is like a flavor of the week thing for any act except for Rap or R&B acts.

For legacy acts (or any act which is 15 years old or more) it's all about the first week and then your done.

GHS re-issue went 1-14-75 after 3 weeks on the UK chart and 19-171 on Billboard, once the die hard fans and casual public get the album during the pre-sale and the first 1-2 weeks, there's no more people interested on it and without big streaming numbers you're out of the charts on less than a month.

Just to put in perspective how important streaming is these days , 2 facts from this week's UK chart:

1- "Despite the presence of no fewer than five new entries in the Top 10, a quiet week for sales overall means no record managed to register a sale of more than 10,000 units. That left the route to top spot open, and indeed a late surge means the No.1 album of the week is not one of the big new releases but instead Pop Smoke’s perennial Shoot For The Stars, Aim For The Moon, which climbs to No.1 for the first time. Its chart sale of 9,665 is the third lowest of any No.1 album so far this year. Just 331 of these (138 physical, 193 downloads) are accounted for by paid sales with the rest of the sales (9,334) coming from over 14 million streams."

2- "Despite the slim sales even at the top end, the albums market holds steady overall, up 0.4% to stand at 1,708,504. Physical sales rise 2.82% week-on-week to stand at 318,903 representing 18.67% of the market."

Quote
Doxa
I think the marketing and promoting effort for EXILE was extraordinary, even if we count actual new studio albums (which, of course, were most efficiently marketed by touring in the past). Not just the amount of interviews they did (especially Mick), but also ones in a rather high profile live shows (Fallon, US Today, Larry King). One important factor was STONES IN EXILE document, which they promoted pretty heavily, for example, by entering its premiere. Jagger held a press conference for it in Cannes. Not that it was actually seen initially by that many but it gathered quite a lot of attention in media. There were lots of stories about the 'myth' of EXILE in the press at the time.

The single and video of "Plundered My Soul" was released about a month before the album, getting some nice airplay, and thereby building up the expectations.

Altogether I think they did a good job and managed to build up a nice hype over EXILE.

But with SOME GIRLS it was different. Probably the idea of SOME GIRLS IN TEXAS was to act similarly as STONES IN EXILE did, but seemingly it didn't get that much media interest, and it really it wasn't promoted that much. Just released. Like the album itself. Yeah, Mick and Keith gave some interviews to music journals but nothing even close to EXILE promotion. The single "No Spare Parts" was released a couple of days after, and the video almost a month later.

Why was that?

Probably the timing - November 2011 - was not the best. Jagger had just two months earlier relaesed SuperHeavy album and had spend some time promoting that. Compare that to EXILE project in which Mick had spent about a half year and doing not much else. Keith was in the middle of making CROSSEYED HEART. Then they had different Stones ongoing and upcoming projects as well. They started to release 'bootleg series' with UMG/GoogleMusic - for which Mick and Keith filmed a series of interviews at about the same time, and the relaese of BRUSSELS AFFAIR clashed with SOME GIRLS project. And also at the same time probably both the band and UMG were busy planning the 50th Anniversary year, knowing that the 'big fish' is there. Lots of things were to come. Keith, for example, having just got his chops back, had probably in his mind the upcoming jam in London than going to tv shows to talk about some decades old album (by contrast, when promoting EXILE Keith was more a less a retired musician not having much else than a story to tell - like LIFE, released later in the yaer, literally showed).

It is a good remark by GasLightStreet that EXILE wasn't reissued in the 1971-2005 catalogue by Universal. They seemingly had the deluxe reissue of EXILE in mind alraedy then. That makes one quess that probably they initially considered EXILE project as an individual effort (no contract for other deluxe editions). Or like testing the waters. And then, as it turned out to be such a success, they quickly decided to follow its example. Like Charlie said:

"Oh, I loved it when they said, "You're No. 1". Mick and I thought it was going to be about ten 50-year-olds buying this thing. It's amazing, really, and the documentary was OK; I thought they did a very good job. Mick as well, he did a lot of work on that."

Anyway, as it turned out to be, SOME GIRLS was a pretty rushed project compared to EXILE. STICKY FINGERS years later was a different deal once again. But at that time they were a touring band again, so its promoting was handled differently (and, for example, Mick wasn't interest in finishing old demos any longer). With GOATS HEAD SOUP we are back more to EXILE kind of (heavy) promotion (and 'care-taking' altogether like it is a brandnew Stones studio album). Surely corona has some kind of role there too (although the project was planned, including the opening of the London shop, and seemingly mostly done before it).

So my guess is that SOME GIRLS Deluxe project was a kind of quick project just to follow the example of EXILE and hope for the best with not much extra effort

- Doxa

My recollection is that Universal made clear in press statements that Exile "will not be included in the 2009 remaster reissue campaign because it will receive a special treatment next year", so it effectively fell from the available catalog for some time, unlike Some Girls that was included in the 2009 reissue series. That fact alone may have influenced the lower sales of Some Girls Deluxe, just because the standart single CD 2009 remaster was on sale, unlike Exile, that was out of print for some time until the deluxe set was released.

I doubt that Some Girls Deluxe was just a quick project without much extra effort involved, though. The promotional tasks are one thing. The other thing, however is the time invested by the band and Jagger in particular to listen to the tracks, decide on which ones were to use, write lyrics for a number of them and record new vocals to replace the old guide vocals, so I guess for the band, the amount of work was more or less the same as for Exile.

I also doubt that the rather generic country-throwaway "No Spare Parts" was the best track they could choose for a lead-off single to promote the album...

Add to that the fact that by Some Girls Deluxe, the initial excitement amongst fans that greeted the Stones' opening of their studio archives was hurt severely due to the somewhat strange artistic decisions and track selections that already marred Exile Deluxe and that were even more apparent when the Some Girls Deluxe tracklist was announced.



Edited 2 time(s). Last edit at 2020-09-26 03:09 by retired_dog.

About Some Girls re-issue: it was released during the 2011' thanksgiving week with high sales for seasonal albums, it debuted low on Billboard (#46) but with respectable sales during the first week (24,000 copies sold).

It remained 6 weeks (46-92-122-125-135-193) on the Top 200 during the whole 2011 Christmas season selling over 130k in that time, not bad but almost 300k less copies than Exile a year before.

lso doubt that the rather generic country-throwaway "No Spare Parts" was the best track they could choose for a lead-off single to promote the album...


Was only ever lucky enough
ta find one copy of that 7 " ....



ROCKMAN

Quote
retired_dog

I doubt that Some Girls Deluxe was just a quick project without much extra effort involved, though. The promotional tasks are one thing. The other thing, however is the time invested by the band and Jagger in particular to listen to the tracks, decide on which ones were to use, write lyrics for a number of them and record new vocals to replace the old guide vocals, so I guess for the band, the amount of work was more or less the same as for Exile.

Yeah, my idea of the quickness of the project was especially referring to its promotion. I guess it is true that the real effort in selecting the material and do whatever needed to do for them didn't differ much in those two projects. Although I think for some EXILE cuts - "Plundered My Soul" and "Following The River" - Mick supposedly needed to work harder, since his contribution needed to start from a scratch, with no guide vocals at all. As far as I know that was not the case with any of SOME GIRLS cuts, so it was 'easier' project to begin with in this sense.

Roughly, for EXILE the work was done in Fall 2009, most likely the heaviest things in August and September, Taylor's part in November. Then Jagger continued the project by making STONES IN EXILE. In the following year, probably in March, he was to say:

"There are really great things on (the album). And I spent the last six months living with it, so I know it pretty much inside out now.... I can bore people at the breakfast table about what I had to do on it. I know a lot about it, and I kind of appreciate it more. I can see the difficulties easier, but I can also see that some of it was easy and simple to do... I could write my thesis on it, if necessary."

This might sound like marketing talk (and belonging to the promotion side of the project), but I cannot help that Mick - no matter how anti-nostalgic he is or claims to be - was really into the project. For example, I have never heard him being so enthusuastic about the specific recording details as he was in the long Italian radio interview he did for EXILE at the time (bloody hell, it is ten years now since I heard it, and it seemingly is gone. My memory can make tricks, since it was the over-all impression that made such an everlasting mark on me. Never heard Mick talking like a 'nerd' like that...) .

It is much harder to find timeline for SOME GIRLS project (when the material was selected, overdubbed, etc.). The dateline of timeisonoursside.com mentions that in August "Mick Jagger records overdubs on outtakes from 1978's Some Girls at his home studio in Pocé sur Cisse, France, for the upcoming fall release." The album was relaesed in November.

This is just speculation but my picture is that the whole SOME GIRLS project took much shorter time than EXILE. The lack of promotion, especially by Mick, seems to indicate that he really wasn't that into 'looking back' as with EXILE. The 'thrill' (caused probably due to the novelty of the thing) sounded like gone, and it was just a job needed done by routine, and that's it. Like I tried to describe above there were at the time other projects going on at the time. September 7 The Stones hold a band meeting in an office in London. Interviewed just afterwards Jagger was as casual as ever, but however, it is clear that their mind started to be in the upcoming 50th Anniversary than of promoting reissue album big time:

"I just finished off doing all the outtakes for the Some Girls album we're releasing at Thanksgiving. We did Exile, we did a lot of different takes, a lot of different cuts that hadn't come out before, so we're doing the similar kind of thing with Some Girls, so I've just been doing them because a lot of them weren't complete, so I had to complete them, and then we're gonna mix those and put them out for Thanksgiving. Then we talked about maybe what events are going to be going around for the 50th anniversary of the Rolling Stones. We don't really know the answer to that, but we talked about it a bit."

- Doxa



Edited 3 time(s). Last edit at 2020-09-26 12:52 by Doxa.

Quote
GasLightStreet
Doxa, I'm going to walk out on a limb that doesn't even need to be walked out on: just the GHS deluxe reissue in its entirety will have faded in its streaming numbers by mid October at the latest: it was a huge flavor of the week thing. Scarlet had a lot of press because it crossed thanks to Jimmy Page.

I am afraid that it is even more a 'flavor of the week' kind of thing. I recall watching the streams of GHS just a four or five days after its release, and they were like 6 millions (if memory serves). And now they are something like 10 plus millions (surely the earlier released "Criss Cross" and "Scarlet" has a role there, and the stream mumbers for those two hadn't changed a lot since then). This tendency seems resemble the sales of physical albums: the interest - or curiosity - is quickly satisfied.

But meanwhile, there are songs that are constantly streamed. They are like streaming evergreens. For example, "Angie" is a kind of song that has nothing to do with the Stones releasing GHS in any kind of fancy new format or not. Or promoting that as much as they can or not. It is interesting that of the new GHS reissue "Angie" is not even the most streamed one (okay, with its 233k streams it is second to "Dancing With Mr. D" only by a few thousand streams, but still). Meanwhile, it lives life of its own. Namely, as I in the page 64 of this thread wrote down a month ago (25th of August) "Angie" had 157,7m streams. Now it has 162,0m. That's over four million streams in a month! So the people casually listening to it mostly discover the song - or it pops up to them - from other sources, such as HONK (although all of its points - expect the the ones of new reissue - go to the 'old' GHS for some reason, like the ones of "Paint It Black" to AFTERMATH and so on).

- Doxa



Edited 3 time(s). Last edit at 2020-09-26 14:06 by Doxa.

Quote
Manofwealthandtaste
I have a question regarding the red vinyl limited edition......

How come Star Star does not appear on the track listing on the inner sleeve?

Or is this an error and I have the only copy like this, making it a very limited edition?!

I haven’t even taken mine out the the plastic sleeve to look at the contents.

"I've got nasty habits I take tea at three"

I do not know if this has been discussed earlier but I feel the Glyn Johns remixes on Disc 2 are a complete waste of disc space. Maybe it is my equipment but I do not think they offer anything special or significantly different.

Quote
Captain Teague
I do not know if this has been discussed earlier but I feel the Glyn Johns remixes on Disc 2 are a complete waste of disc space. Maybe it is my equipment but I do not think they offer anything special or significantly different.

Er, Mick Taylor sky-high in the mix and different vocals/lyrics on Mr. D. The flute solo on Can You Hear The Music. Different keyboard-mix (clavinet) + acoustic guitar (Keith) on Heartbreaker and different vocals/lyrics on Silver Train ("...think I'm gonna get on board...").



Edited 2 time(s). Last edit at 2020-09-27 17:23 by DandelionPowderman.

Quote
Captain Teague

I do not know if this has been discussed earlier but I feel the Glyn Johns remixes on Disc 2 are a complete waste of disc space.

I like this Tracklist of Disc 2: [iorr.org] .

I just got around to reading the last 10 pages of this thread, so here are some random thoughts.

I think the GHS deluxe (Super Deluxe?) box with the Blu-ray is great. The 5.1 surround sound is awesome. Love it! It cost a lot of money to get the 5.1!

On the plus side, it's great to have the remix of GHS and the 5.1. That makes this release extra great!

I love the bonus tracks. I play All the Rage, 100 Years Ago (piano version), Mr D (instrumental), Heartbreaker, and my favorite Hide Your Love constantly in my car, every day.

My car doesn't have the best sound system, so it seems a waste to listen to GHS 2020 or the other bonus tracks in the car.

Can You Hear the Music Japan bonus track is very cool. Dan says the flute solo is not an extension of the the original 1973 release but a different solo.

Covid-19 grave Mick the time to put together this GHS 2020 and he did a great job! I'd rather have this than a tour with the same songs.

Having various songs precede the album release, on after another (Scarlet remixes and promo videos Criss Cross and All the Rage) were great promotion and big fun to have something new come out constantly before the album.

It would have been nice if the Scarlet remixes were included with the bonus tracks.

I hate that the book is glued in to the Super Deluxe box!

ExileStones

Quote
Irix

Quote
Captain Teague

I do not know if this has been discussed earlier but I feel the Glyn Johns remixes on Disc 2 are a complete waste of disc space.

I like this Tracklist of Disc 2: [iorr.org] .

I didn't hear anything worthy of the Glynn Johns mix of Mr D but I haven't given it a chance yet.

The Glyn mix of 100 Years Ago gets interesting from the jam to the end.

We stones fans (mostly) do not rank GHS as a top priority. We would not suggest it as the FIRST stones record to hear in order to atract a novice to our world.

BUT according to its present success and compared to what happened to other recording reissues---market proved us wrong !...new people would seem to love GHS more than some of our admired "classics"!



Edited 1 time(s). Last edit at 2020-09-27 20:10 by emotionalbarbecue.

What took longer to shoot, the CRISS CROSS video or this BUTTON TO BUTTON video by the Albumen Streaks (otherwise known as the White Stripes: [m.youtube.com]

Quote
Title5Take1
What took longer to shoot, the CRISS CROSS video or this BUTTON TO BUTTON video by the Albumen Streaks (otherwise known as the White Stripes: [m.youtube.com]

Easy, Criss Cross.
The director Diana Kunst filmed and used footage of the model going back several years, and they crossed the globe.

OOOOwwww and that Criss Cross
girl is just so cute and free .... wanna kiss her



ROCKMAN

Got the clear vinyl set from RS dot com today. I have to say they know how to ship records, I give them that much. Well protected inside purpose built packaging, bulletproof pretty much.

Now I am waiting on a new Shure M97xE cartridge to replace my 70s V15 type 4 Shure. I pulled that one out of retirement a couple years ago, its firing on all cylinders but the stylus is kind of questionable. Am expecting great things from this new cartridge, it is more or less the successor to the V15 line.

jb

Quote
jbwelda
Got the clear vinyl set from RS dot com today. I have to say they know how to ship records, I give them that much. Well protected inside purpose built packaging, bulletproof pretty much.

Now I am waiting on a new Shure M97xE cartridge to replace my 70s V15 type 4 Shure. I pulled that one out of retirement a couple years ago, its firing on all cylinders but the stylus is kind of questionable. Am expecting great things from this new cartridge, it is more or less the successor to the V15 line.

jb

Thanks for your post. Couldn't find the clear vinyl any longer, appeared 'sold out' through RollingStones.com. Did a good search and bought two copies this morning through [therollingstonesshop.com] which I include here in case anyone else wants to grab a copy.

Thank you. Finally ordered one.

Quote
treaclefingers

Couldn't find the clear vinyl any longer, appeared 'sold out' through RollingStones.com.

Clear Vinyl is also available here: [www.Merchbar.com] , [Platenzaak.nl] .