1- Sympathy For The Devil
2- No expectations
3- Dear Doctor
4- Parachute Woman
5- Jig-Saw Puzzle
6- Street Fighting Man
7- Prodigal Son
8- Stray Cat Blues
9- Factory Girl
10- Salt Of The Earth

Mick Jagger - Harmonica, Percussion, Vocals
Brian Jones - Guitar, Harmonica, Keyboards, Sitar, Tambourine, Vocals (Background)
Keith Richards - Bass, Guitar, Vocals
Charlie Watts - Drums
Bill Wyman - Bass, Vocals (Background) 
+
Nicky Hopkins - Keyboards, Piano 

The Stones forsook psychedelic experimentation to return to their blues roots on this celebrated album, which was immediately acclaimed as one of their landmark achievements. A strong acoustic Delta blues flavor colors much of the material, particularly "Salt of the Earth" and "No Expectations," which features some beautiful slide guitar work. Basic rock & roll was not forgotten, however: "Street Fighting Man," a reflection of the political turbulence of 1968, was one of their most innovative singles, and "Sympathy for the Devil," with its fire-dancing guitar licks, leering Jagger vocals, African rhythms, and explicitly satanic lyrics, was an image-defining epic. On "Stray Cat Blues," Jagger and crew began to explore the kind of decadent sexual sleaze that they would take to the point of self-parody by the mid-'70s. At the time, though, the approach was still fresh, and the lyrical bite of most of the material ensured Beggars Banquet's place as one of the top blues-based rock records of all time. ---Richie Unterberger, AllMusic Review

Po skoku w bok, w postaci psychodelicznego albumu "Their Satanic Majesties Request", zmiażdżonego przez krytykę, Stonesi postanowili wrócić do korzeni. Nie koniecznie swoich - album "Beggars Banquet" tak naprawdę niewiele ma wspólnego z wcześniejszą twórczością zespołu. Mniej tutaj rockowej energii, za to muzycy wyraźniej niż kiedykolwiek wcześniej nawiązali do amerykańskiej tradycji. Dużo tutaj bluesa, ale przede wszystkim pojawiły się ewidentne wpływy muzyki country ("Dear Doctor", "Factory Girl", oraz przeróbka "Prodigal Son" Roberta Wilkinsa). Nieszczególnie odpowiada mi ta metamorfoza, gdyż nigdy nie przepadałem za country. Najwyraźniej jednak jestem w mniejszości, bo przeważają opinie, że "Beggars Banquet" to jedno ze szczytowych osiągnięć Rolling Stones, oraz że longplay rozpoczyna najciekawszy okres twórczości zespołu, rzekomo trwający do roku 1972 i wydanego wówczas albumu "Exile on Main St." (który też nigdy mnie nie zachwycał).

"Beggars Banquet" powstawał w nienajlepszej atmosferze. Brian Jones oddalił się od reszty zespołu, także pod względem muzycznym. Chciał kontynuować psychodeliczne eksperymenty, znów grać na różnych niekonwencjonalnych instrumentach, które nie pasowały do surowego charakteru muzyki, jaką w tamtym czasie tworzyli pozostali muzycy. W rezultacie pozwolono mu na udział tylko w kilku utworach. Mimo problemów, album został ukończony już w lipcu 1968 roku. Premiera opóźniła się jednak aż do grudnia, gdyż ani europejski, ani amerykański wydawca nie chciał zaakceptować projektu okładki zaproponowanego przez zespół - zdjęcia obskurnego kibla. Po wielu miesiącach walki, muzycy się poddali i zgodzili na bardziej neutralną okładkę. Ich pomysł został wykorzystany dopiero na kompaktowej reedycji z 1984 roku (większość późniejszych wydań - zarówno kompaktowych, jak i winylowych - także zawiera taką okładkę). Warto w tym miejscu dodać, że dopiero na wydaniach po 2002 roku album ma właściwą prędkość - podczas przygotowywania oryginalnego masteringu zrobiono błąd, w rezultacie czego prędkość została zwolniona (w sumie wydłużyło to album o około pół minuty). Dopiero po ponad trzydziestu latach postanowiono to poprawić.

Album rozpoczyna się od jednego z najbardziej znanych utworów zespołu, "Sympathy for the Devil". Sławę przyniósł mu przede wszystkim kontrowersyjny tekst (za sprawą którego zespół do dziś bywa oskarżany o propagowanie satanizmu; choć w rzeczywistości nawiązuje on do "Mistrza i Małgorzaty" Michaiła Bułhakowa), ale i pod względem muzycznym jest to dość niekonwencjonalna rzecz - uwagę zwracają przede wszystkim plemienny rytm i charakterystyczne chórki. Znalazło się też miejsce dla zgrabnej solówki Keitha Richardsa. Innym popularnym utworem jest wyjątkowo jak na ten album dynamiczny "Street Fighting Man", który również wywołał spore kontrowersje - wiele stacji radiowych nie chciało go grać, ze względu na tekst, poruszający problem ówczesnych protestów studenckich. Jest to jeden z nielicznych utworów na płycie, na których swoje piętno odcisnął Brian Jones. W tym akurat kawałku zagrał na indyjskich instrumentach, sitarze i tamburze, których brzmienie nadaje mu nieco orientalnego charakteru (w utworze pojawia się także inny instrument pochodzenia indyjskiego, shehnai, na którym gościnnie zagrał Dave Mason, gitarzysta grupy Traffic).

Co ciekawe, to właśnie utwory z udziałem Jonesa (nieograniczającym się do chórków lub grania na harmonijce) należą do moich faworytów z tego albumu: bardzo ładna ballada "No Expectations", którą Brian ozdobił slide'owymi partiami gitary, a także psychodeliczny "Jigsaw Puzzle" i najbardziej dynamiczny, stricte rockowy "Stray Cat Blues", w których zagrał na melotronie. Chociaż akurat w tych dwóch ostatnich to nie jego udział decyduje o ich wartości. W "Jigsaw Puzzle" błyszczy przede wszystkim Bill Wyman, którego wyrazista partia basu przyciąga najwięcej uwagi. Z kolei "Stray Cat Blues" to głównie zadziorne riffowanie Richardsa i interesująca linia wokalna, w której jest miejsce i na śpiew, i na wrzask, i na deklamację. Do ciekawszych fragmentów album zaliczam także klasycznie bluesowy "Parachute Woman", jak również finałową balladę "Salt of the Earth", wyróżniająca się charakterystycznymi dla muzyki gospel żeńskimi chórkami. Zupełnie nie przekonują - a wręcz drażnią - mnie natomiast wspomniane na początku trzy utwory w stylu country. Obniżają poziom całości i zniechęcają mnie do wracania do tego albumu. Szkoda, że zamiast nich nie trafił tutaj singlowy "Jumpin' Jack Flash" - jeden z najlepszych utworów zespołu, pokazujący, że grupa świetnie odnalazła się w czasach narodzin hard rocka.

"Beggars Banquet" to mimo wszystko bardzo udane otwarcie nowego etapu działalności zespołu. Jednak dopiero na dwóch kolejnych albumach zespół doprowadził ten styl do... może niekoniecznie perfekcji, ale na pewno do ciekawszego efektu. Tutaj niestety nie brakuje fragmentów, w których znacząco spada napięcie. ---Paweł Pałasz, pablosreviews.blogspot.com

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CD 1 
01. Rocks Off 
02. Rip This Joint 
03. Shake Your Hips 
04. Casino Boogie 
05. Tumbling Dice 
06. Sweet Virginia 
07. Torn And Frayed 
08. Sweet Black Angel 
09. Loving Cup 
10. Happy 
11. Turd On The Run 
12. Ventilator Blues 
13. I Just Want To See His Face 
14. Let It Loose 
15. All Down The Line 
16. Stop Breaking Down 
17. Shine A Light 
18. Soul Survivor 

CD 2 
01. Pass The Wine (Sophia Loren) 
02. Plundered My Soul 
03. I'm Not Signifying 
04. Following The River 
05. Dancing In The Light 
06. So Divine (Aladdin Story) 
07. Loving Cup (Alternate Take) 
08. Soul Survivor (Alternate Take) 
09. Good Time Woman 
10. Title 5

Bass – B. Wyman
Drums – C. Watts
Guitar – M. Taylor
Guitar, Vocals – K. Richards
Piano – N. Hopkins
Saxophone – B. Keys
Trumpet, Trombone – J. Price
Vocals – M. Jagger 

Legendary as it may be, Exile on Main St. presents a challenge for deluxe remastered reissues. Much of its myth lies in its murk, how its dense, scuzzy sound is the quintessential portrait of rock stars in decadent isolation, the legend bleeding into its creation so thoroughly it is impossible, and unnecessary, to separate one from the other. Without this nearly tactile sound, Exile wouldn’t be Exile, so remastering the record is a tricky business because it should not be too clean. The remaster on the 2010 reissue -- available in a myriad of editions containing variations of a single-disc remaster and a second disc expanded with ten unreleased tracks - doesn’t quite avoid that trap. When “Rocks Off” kicks off the record, what was previously dulled like aged silver is now is too bright: Mick Jagger’s vocals leap and the keyboards ring clearly. Because this is Exile on Main St., a record recorded in a decaying French mansion, it’s impossible to scrape all the grime away from its layers, but the overall impression is that the original master tapes are now presented in high definition: it’s possible to hear what most individual instruments are doing on each track, which may lead for a greater appreciation of the Stones' monumental musicianship, but it’s somewhat at the expense of the album’s mystique.

Another pitfall in the plans for this deluxe expansion: there aren’t a whole lot of completed unreleased songs. The Stones had a habit of working leftovers from the prior album into a finished product, sometimes taking years to complete a song -- a practice that resulted in great songs but not much left in the vaults. Which isn’t to say there was nothing left behind from Exile’s sessions: the Stones were living where they were recording, so they produced an enormous amount of music, working out the kinks in a song (represented here by alternate takes of “Loving Cup” and a Keith Richards-sung “Soul Survivor”), or wholly reworking an existing song as they did with the loose-limbed “Good Time Women,” which was later revised as “Tumbling Dice.” On occasion, they completed a song that didn’t make the cut, such as “I’m Not Signifying,” a heavily bootlegged shambolic blues that is just about as good as anything on the finished album, but usually they created instrumental beds designed to be completed later with vocals. In this particular case, a handful of these tracks were completed much, much later, with the band finishing up the songs some 38 years later for this deluxe edition. A great deal of attention was paid to making the new additions relatively seamless, with the band going so far as to bring in the long-departed guitarist Mick Taylor for some overdubs. If the end results don’t quite feel as thick as Exile, they nevertheless do feel remarkably like the classic Taylor era. Apart from “Following the River” -- a drowsy piano ballad that tries to rouse itself to blues-gospel -- these are good, sometimes excellent songs, particularly the loose, hip-shaking “Dancing in the Light” and the charging “Plundered My Soul.” At first it's hard not to stare at these hybrid tracks with skepticism, particularly because they’re eating up room that could have been used for other alternate takes, or perhaps the instrumentals themselves, or the occasional bootlegged song that didn’t make the cut, such as “Blood Red Wine,” but once that suspicion fades, you’re left with a handful of very good additions to the Stones songbook -- songs that don’t hold a candle to Exile but are remarkable re-creations of Taylor-era rock & roll, songs that could easily have been slid onto It’s Only Rock 'N Roll, when the group was easing into their grooves, confident that they were the greatest rock & roll band on earth. ---Stephen Thomas Erlewine, allmusic.com

"Exile on Main St." uznawany jest za kolejne wielkie dzieło Stonesów. Zdarzają się nawet opinie, że właśnie ten longplay jest szczytowym osiągnięciem grupy. Trudno mi zrozumieć ten fenomen. Zarówno kiedy poznawałem "Exile..." przed pięcioma laty, jak i przypominając go sobie teraz, miałem dokładnie takie same odczucia. Mieszane, lecz z przewagą negatywnych. Uważam, że ten dwupłytowy album - częściowo składający się z odrzutów po "Let It Bleed" i "Sticky Fingers" - to chaotyczny zbiór (głównie) nieprzemyślanych, niedopracowanych i pozbawionych wyrazistości kawałków. Być może ogólne wrażenie byłoby lepsze, gdyby okrojono ten materiał do jednej płyty, o standardowym czasie trwania około czterdziestu minut. Choć i wtedy nie byłby to album na miarę trzech poprzednich (dwóch wyżej wspomnianych i "Beggar's Banquet"). Gdyż, moim zdaniem, nie ma tu żadnego naprawdę rewelacyjnego utworu. Choć kilka przyzwoitych kawałków można wyłapać.

Z pierwszej płyty właściwie tylko jeden utwór zwrócił moją uwagę - singlowy "Tumbling Dice" o dość przebojowej melodii i przyjemnie pulsującej linii basu (w wykonaniu Micka Taylora, grającego na basie także w trzech innych utworach). Od biedy mogę wyróżnić jeszcze zadziorny "Rocks Off", który całkiem nieźle sprawdza się na otwarcie, choć niczym szczególnym nie zachwyca, a także łagodniejszy "Torn and Frayed" (w którym błyszczą gościnnie zaproszeni muzycy, grający na gitarze hawajskiej, pianinie i organach). Druga płyta przynosi nieco więcej ciekawej muzyki. Chociażby intrygujący blues "Ventilator Blues" (jedyny utwór Stonesów, przy którym został uwzględniony kompozytorski wkład Taylora). Albo wyraźnie inspirowane soulem "Let It Loose" i "Shine a Light" (w tym drugim znów pojawia się świetna linia basu w wykonaniu Taylora, jego zgrabna solówka gitarowa, a także fantastyczne organy Billy'ego Prestona). Nie brakuje tu też bardziej zadziornego, a zarazem przebojowego grania - vide "All Down the Line" i "Soul Survivor". Z wymienionych utworów można by skompilować krótki jednopłytowy album, który może i nie byłby wybitnym osiągnięciem, ale przynajmniej by nie nudził. Jako dwupłytowy album "Exile..." niestety nudzi. Niemal połowa utworów jest tak bezbarwna, że po przesłuchaniu ich nic nie zostaje mi w głowie, a zdarzają się tutaj też kompletne niewypały. Do tych ostatnich zaliczam "Sweet Virginia" (kolejny kawałek w repertuarze grupy w stylu country), "I Just Want to See His Face" (zdecydowanie mniej udany, od wyżej wspomnianych, flirt z soulem), a także "Happy" (najbardziej znany utwór zespołu śpiewany przez Keitha Richardsa, jednak strasznie banalny).

"Exile on Main St." powstawał w okresie największych narkotykowych i alkoholowych ekscesów muzyków The Rolling Stones. I chyba tym właśnie należy tłumaczyć wydanie takiego albumu - nikt nie był na tyle trzeźwy, aby uświadomić sobie, że co najmniej połowa tego materiału powinna pozostać w archiwum. Druga ("mniejsza") połowa wyszła jednak całkiem nieźle, jak na warunki, w których powstawała. ---pablosreviews.blogspot.com

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01) Continental Drift (Intro)
02) Start Me Up
03) Sad Sad Sad
04) Miss You
05) Rock And A Hard Place
06) Ruby Tuesday
07) You Cant Always Get What You Want
08) Factory Girl
09) Cant Be Seen
10) Little Red Rooster
11) Paint It Black
12) Sympathy For The Devil
13) Brown Sugar
14) Jumpin Jack Flash
15) Satisfaction (I Cant Get No)
16) Highwire (Studio Version)
17) Sex Drive (Studio Version)

Backing Vocals – Bernard Fowler, Cindy Mizelle (1 to 15), Lisa Fisher (1 to 15)
Bass Guitar – Bill Wyman
Drums – Charlie Watts
Guitar – Ron Wood
Horns – The Uptown Horns
Keyboards – Chuck Leavell
Keyboards, French Horn – Matt Clifford
Lead Vocals, Guitar, Harmonica – Mick Jagger
Saxophone – Bobby Keys
Vocals, Guitar – Keith Richards 

The live album catalogue of the Rolling Stones is bigger than most bands ever amass with studio releases. It’s a collection that spreads from 1966’s Got Live If You Want It! all the way to the late 2016 memento of their historic Cuban concert, Havana Moon. On 20 April 1991, the band made the UK chart with what was already their fifth live set, Flashpoint, which commemorated one of their most memorable and epic tours.

It was recorded on the shows that, many feel, marked the beginning of the modern era of the Stones as a live force: a tour which was so huge, it had two names, Steel Wheels for the North American and Japanese legs of 1989 and early 1990 and, with a completely different set design, the European Urban Jungle shows of later that year.

Those tours raised the bar in spectacular stage design and production values, not just for the Stones but for all bands with aspirations to their stadium rock crown. They played no fewer than 115 shows, with dates spread over just six days short of a year; by the end of Urban Jungle, the extravaganza had realised a reported gross of an eye-popping $115 million.

Flashpoint not only gave fans a permanent record of those concerts, it offered up two brand new studio recordings. The live portion started, as the shows had, with the invigoratingly mystical ‘Continental Drift,’ the percussive passage from the Steel Wheels album.

That segued into the classic curtain-raiser ‘Start Me Up,’ the first of many staples on an album that also included live versions of the Steel Wheels tracks ‘Sad Sad Sad,’ ‘Rock And A Hard Place’ and ‘Can’t Be Seen.’ Eric Clapton made a guest appearance on ‘Little Red Rooster.’ The new songs were ‘Highwire,’ released as a single and featuring an outspoken Mick Jagger lyric that he was moved to write by the events of the Gulf War, and ‘Sex Drive,’ a distinct nod to his longtime admiration for James Brown.

The album entered the UK chart at its peak position of No. 6, spending seven weeks in the top 75; it went gold there and in the US, Germany and Canada. Rolling Stone’s review summed it up by observing that the Stones had “become what they’ve always aspired to be – rockers with the staying power of roots musicians, veterans who continue to practice their art with skill and verve and undiminished soul.” ---Paul Sexton, udiscovermusic.com

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01. Dancing With Mr. D. [4:52]
02. 100 Years Ago [3:58]
03. Coming Down Again [5:53]
04. Doo Doo Doo Doo Doo (Heartbreaker) [3:26]
05. Angie [4:31]
06. Silver Train [4:26]
07. Hide Your Love [4:11]
08. Winter [5:29]
09. Can You Hear The Music [5:31]
10. Star Star [4:23]

Bass – Bill Wyman
Drums – Charlie Watts
Flute, Alto Saxophone – Jim Horn
Guitar, Bass, Vocals – Keith Richard, Mick Taylor
Percussion – Jimmy Miller, Pascal, Rebop
Piano – Ian Stewart, Nicky Hopkins
Piano, Clavinet – Billy Preston
Tenor Saxophone, Baritone Saxophone – Bobby Keys
Trumpet – Chuck Finley
Vocals, Guitar, Harp, Piano – Mick Jagger 

Sliding out of perhaps the greatest winning streak in rock history, the Stones slipped into decadence and rock star excess with Goats Head Soup, their sequel to Exile on Main St. This is where the Stones' image began to eclipse their accomplishments, as Mick ascended to jet-setting celebrity and Keith slowly sunk deeper into addiction, and it's possible hearing them moving in both directions on Goats Head Soup, at times in the same song. As Jagger plays the devil (or, dances with Mr. D, as he likes to say), the sex and sleaze quotient is increased, all of it underpinned by some genuinely affecting heartbreak, highlighted by "Angie." This may not be as downright funky, freaky, and fantastic as Exile, yet the extra layer of gloss brings out the enunciated lyrics, added strings, wah-wah guitars, explicit sex, and violence, making it all seem trippily decadent. If it doesn't seem like there's a surplus of classics here, all the songs work well, illustrating just how far they've traveled in their songcraft, as well as their exceptional talent as a band -- they make this all sound really easy and darkly alluring, even when the sex'n'satanism seems a little silly. To top it all of, they cap off this utterly excessive album with "Star Star," a nasty Chuck Berry rip that grooves on its own mean vulgarity -- its real title is "Starf*cker," if you need any clarification, and even though they got nastier (the entirety of Undercover, for instance), they never again made something this dirty or nasty. And, it never feels more at home than it does at the end of this excessive record. ---Stephen Thomas Erlewine, AllMusic Review

"Goats Head Soup" to album niesłusznie pozostający w cieniu wydanego rok wcześniej "Exile on Main St.". Owszem, także dość nierówny, ale moim zdaniem pod wszelkimi innymi względami znacznie przewyższający słynnego poprzednika. Chociażby pod względem czasu trwania - jest krótszy, a tym samym mniej na nim wypełniaczy. Ale najważniejsze, że nie brakuje na nim wyrazistych utworów. To przecież właśnie na "Goats Head Soup" znalazła się kompozycja "Angie". Chyba najczęściej prezentowany kawałek The Rolling Stones przez polskie stacje radiowe (tak przynajmniej było dziesięć lat temu, gdy jeszcze zdarzało mi się słuchać radia). I chociaż zespół ma lepsze utwory od tego, to nie można odmówić "Angie" uroku. To przecież jedna z najładniejszych ballad zespołu, a nawet całej muzyki rockowej. Gitara akustyczna bardzo przyjemnie współgra tutaj z pianinem i smyczkami, a partia wokalna Micka Jaggera należy do najładniejszych i najbardziej chwytliwych, jakie wykonał. Całkiem nieźle wyszła też druga ballada, bardziej sielska "Coming Down Again", w której to Keith Richards wspina się na wyżyny swoich wokalnych możliwości.

Ale na albumie nie mogło zabraknąć i gitarowego czadu. Tutaj przede wszystkim trzeba wyróżnić funkująco-hardrockowy "Doo Doo Doo Doo Doo (Heartbreaker)", a także rock and rollowy "Starfucker" (bo tak naprawdę nazywa się utwór "Star Star", ocenzurowany na trackliście przez dystrybutora), brzmiący jak obmierzła wersja Chucka Berry'ego. Trzeba też zwrócić uwagę na świetny otwieracz "Dancing with Mr. D" - wolniejszy kawałek, utrzymany na pograniczu rocka, funku i bluesa, oparty na rewelacyjnie pulsującej partii basu (w wykonaniu Micka Taylora - jak większość najbardziej wyrazistych linii basu z albumów Stonesów). To mój ulubiony fragment albumu. Melodyjny, stopniowo nabierający ostrości "100 Years Ago" także wypada nieźle. Ale już rock and rollowemu "Silver Train" i utrzymanemu w stylu boogie "Hide Your Love" brakuje wyrazistości. Poziom jednak zaniżają przede wszystkim dwa pozostałe utwory. W tym trzecia na płycie ballada, "Winter", do której doklejono nachalne, zupełnie niepasujące smyczki i dęciaki (chociaż gitarowa solówka wypada naprawdę ładnie). Kompletny chaos pojawia się natomiast w "Can You Hear the Music", w którym wyjątkowo nieciekawie wypadają wpływy muzyki dalekowschodniej (a przecież bardzo lubię takie brzmienia, czego wyraz dałem już kilkakrotnie w różnych recenzjach).

"Goats Head Soup" to w sumie niezły album, na którym nie brakuje bardzo udanych utworów. Longplay wniósł też pewien powiew świeżości do dyskografii Stonesów - wpływy muzyki country, tak wyraźnie zaznaczone na czterech poprzednich albumach, tutaj zostały całkowicie wyparte przez elementy funkowe. Co, przynajmniej moim zdaniem, wyszło zdecydowanie na lepsze. ---Paweł Pałasz, pablosreviews.blogspot.com

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CD1:
1. Intro: Excerpt From 'Fanfare For The Common Man' (1:23)
2. Honky Tonk Women (3:19)                        play
3. If You Can't Rock Me-Get Off Of My Cloud (5:00)
4. Happy (2:55)
5. Hot Stuff (4:34)
6. Star Star (4:09)
7. Tumbling Dice (4:00)
8. Fingerprint File (5:16)
9. You Gotta Move (4:19)
10. You Can't Always Get What You Want (7:42)

CD2:
1. Mannish Boy (6:27)
2. Crackin' Up (5:39)
3. Little Red Rooster (4:39)
4. Around And Around (4:08)
5. It's Only Rock 'n Roll (4:31)
6. Brown Sugar (3:10)
7. Jumpin' Jack Flash (4:02)                     play
8. Sympathy For The Devil (7:51)

Personnel: 
Mick Jagger (vocals, guitar, harmonica); 
Keith Richards, Ron Wood (vocals, guitar); 
Billy Preston (vocals, keyboards); 
Charlie Watts (drums); 
Ollie Brown (percussion).

Recorded on the supporting tour for 1976's Black and Blue, the double-album set Love You Live is an adequate live album, capturing the Stones' transition from a lean, lethal rock & roll band to accomplished showmen. As showmen, they aren't as compelling as they are when they're rockers, but the show-biz glitz of Mick Jagger's arena rock shtick remains thoroughly entertaining, even when it robs the music of its power. ---Stephen Thomas Erlewine, AllMusic Review

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1- Fancy Man Blues
2- Tumbling Dice (Live)
3- Wild Horses (Live - Stripped Version)
4- Beast Of Burden (Live)
5- Anyway You Look At It
6- If I Was A Dancer (Dance, Part. 2)
7- Miss You (Dance Version)
8- Wish I'd Never Met You
9- I Just Wanna Make Love To You (Live)
10- Mixed Emotions (12" Version)
11- Through The Lonely Nights
12- Live With Me (Live)
13- Let It Rock (Live)
14- Harlem Shuffle (NY Mix)
15- Mannish Boy (Live)
16- Thru And Thru (Live)

ROLLING STONES RARITIES 1971-2003 A treasure trove of live recordings, B-sides and remixes selected from their archives by the Rolling Stones. Listen as the band reinterprets some of their greatest songs, retraces their blues and R&B roots and adds new textures to the most distinctive sound in rock 'n' roll. ---Editorial Notes

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1    Brown Sugar
2    Sway
3    Wild Horses
4    Can’t You Hear Me Knocking
5    You Gotta Move
6    Bitch
7    I Got The Blues
8    Sister Morphine
8    Dead Flowers
10	 Moonlight Mile
+
11    Brown Sugar
12    Sway
13    Wild Horses
14    Can’t You Hear Me Knocking
15    You Gotta Move
16	  Brown Sugar (Live At Leeds University, 1971)
17	  Let It Rock (Live At Leeds University, 1971)

Mick Jagger - vocals, guitar (2,9,10), percussion (1)
Keith Richards - guitar, additional vocals
Mick Taylor - guitar (1-7,9,10)
Bill Wyman - bass, piano (5)
Charlie Watts - drums, percussion
+ 
Ian Stewart - piano (1,9)
Bobby Keys - saxsophone (1,4,6,7)
Nicky Hopkins - piano (2,4)
Jim Dickinson - piano (3)
Billy Preston - organ (4,7)
Rocky Dijon - congas (4)
Jimmy Miller - percussion (4)
Jim Price - trumpet (6,7), piano (10)
Ry Cooder - guitar (8)
Jack Nitzsche - piano (8)

By 1970 the Stones had earned the right to take a little time to turn out their next album. Bedding in new boy, Mick Taylor, on their well-documented tour of the States the year before had also involved a little studio time at Muscle Shoals studio. The results of these sessions and songs held over from Beggars Banquet were also brought to the table when they reconvened, still a little bruised from the apocalyptic events at Altamont. These were now grown-up men with families, demons and more to cope with who assembled at Jagger’s Stargroves mansion with their mobile studio in the summer of 1970.

In the topsy-turvy world of success they’d had more than their share of recent ups and downs. Sticky Fingers was destined to be the triumphant first release from their self-owned label but this success was leavened by the fact that they’d signed over their back catalogue to previous manager Allen Klein and had to give him the royalties from Brown Sugar and Sway to boot. The incessant touring meant that the band were now world citizens, but they still moved closer to their American roots. Using the usual support cast of Bobby Keys, Ry Cooder and Nicky Hopkins they turned their experiences into ten tracks of narcotic misery and sexual frustration. All wrapped in a very louche Andy Warhol sleeve.

Narcotics are a major theme, of course, but also loss, frustration and incredible world-weariness. Reviews at the time complained that Sticky Fingers lacked the bite of previous releases like Let It Bleed or Beggars Banquet, but it’s this very quality that makes the album special. Like Neil Young’s Tonight’s the Night, the sense of a wake creeps through tracks like Dead Flowers and Sister Morphine.

Elsewhere, the Delta serves as a touchstone for some of Jagger’s most heartfelt wailing as on I Got the Blues and You’ve Gotta Move, while he’s never bettered his letchery on Brown Sugar. Taylor’s arrival is keenly felt on Can’t You Hear Me Knocking?, with its Santana-esque coda. Sway and Bitch are hard-bitten rockers that couldn’t exist without Charlie’s taut snare.

Eventually the whole thing collapses in on itself with Moonlight Mile. A coked-out, somnambulant drift through an era’s last days, and a beautiful end to a beautiful journey. While many hold their next album, Exile On Main St., as their zenith, Sticky Fingers, balancing on the knife edge between the 60s and 70s, remains their most coherent statement. ---Chris Jones, BBC Review

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1. Rolling Stones - Come On (Sep 23 Or Oct 5, 1963; Broadcast Oct 26)[01:59]
2. Rolling Stones - Memphis, Tennessee (Sep 23 Or Oct 5, 1963; Broadcast Oct 26)[02:18]
3. Rolling Stones - Roll Over Beethoven (Sep 23 Or Oct 5, 1963; Broadcast Oct 26)[02:17]
4. Rolling Stones - Don't Lie To Me (Feb 3, 1964; Broadcast Feb 8)[01:41]
5. Rolling Stones - You Better Move On (Feb 3, 1964; Broadcast Feb 8)[02:41]
6. Rolling Stones - I Wanna Be Your Man (Feb 3, 1964; Broadcast Feb 8)[01:54]
7. Rolling Stones - Mona (I Need You Baby) [Feb 3, 1964; Broadcast Feb 8][02:16]
8. Rolling Stones - Walking The Dog (Feb 3, 1964; Broadcast Feb 8)[02:40]
9. Rolling Stones - Bye Bye Johnny (Feb 3, 1964; Broadcast Feb 8)[02:16]
10. Rolling Stones - Roll Over Beethoven (From Don't Lie To Me LP; March 8, 1964 (Broadcast Date, Recorded Feb 8-March 7 On UK Tour))[02:21]
11. Rolling Stones - Beautiful Delilah (From I Can't Judge The Music By Looking At The Cover EP; March 8, 1964)[02:28]
12. Rolling Stones - Ain't That Loving You Baby (March 18, 1964, Or October 8, 1964)[01:53]
13. Rolling Stones - Route 66 (Live) [March 19, 1964; Broadcast May 9][02:58]
14. Rolling Stones - Cops And Robbers (Live) [March 19, 1964; Broadcast May 9][03:53]
15. Rolling Stones - You Better Move On (Live) [March 19, 1964; Broadcast May 9][02:59]
16. Rolling Stones - Mona (I Need You Baby) (Live)          [02:50]
17. Rolling Stones - Hi-Heel Sneakers (Live) [April 10, 1964][01:53]
18. Rolling Stones - Little By Little (Live) [April 10, 1964][02:26]
19. Rolling Stones - I Just Want To Make Love To You (Live) [April 10, 1964][02:11]
20. Rolling Stones - I'm Moving On (Live) [April 10, 1964]  [02:06]
21. Rolling Stones - I Just Want To Make Love To You (April 13, 1964; Broadcast April 18)[02:18]
22. Rolling Stones - Walking The Dog (April 13, 1964; Broadcast April 18)[03:12]
23. Rolling Stones - Not Fade Away (April 13, 1964; Broadcast April 18)[02:02]
24. Rolling Stones - Beautiful Delilah (April 13, 1964; Broadcast April 18)[02:11]
25. Rolling Stones - Hi-Heel Sneakers (April 13, 1964; Broadcast April 18)[02:43]
26. Rolling Stones - Carol (April 13, 1964; Broadcast April 18)[02:30]
27. Rolling Stones - Down In The Bottom (May 25, 1964; Broadcast June 6)[02:49]
28. Rolling Stones - You Can Make It If You Try (May 25, 1964; Broadcast June 6)[02:14]
29. Rolling Stones - Route 66 (May 25, 1964; Broadcast June 6)[02:28]
30. Rolling Stones - Confessin' The Blues (May 25, 1964; Broadcast June 6)[03:02]
31. Rolling Stones - Down The Road Apiece (May 25, 1964; Broadcast June 6)[01:59]
32. Rolling Stones - It's All Over Now (Live) [July 17, 1964][03:30]
33. Rolling Stones - If You Need Me (Live) [July 17, 1964]  [01:59]
34. Rolling Stones - Confessin' The Blues (Live) [July 17, 1964][02:24]
35. Rolling Stones - Carol (Live) [July 17, 1964]           [02:35]
36. Rolling Stones - Mona (I Need You Baby) (Live)          [02:54]
37. Rolling Stones - Around And Around (July 17, 1964 (Studio); Broadcast July 23)[02:40]
38. Rolling Stones - If You Need Me (July 17, 1964 (Studio); Broadcast July 23)[02:00]
39. Rolling Stones - I Can't Be Satisfied (July 17, 1964 (Studio); Broadcast July 23)[02:27]
40. Rolling Stones - Crackin' Up (July 17, 1964 (Studio); Broadcast July 23)[02:14]
41. Rolling Stones - 2120 South Michigan Avenue (Oct 8, 1964; Broadcast Oct 31)[03:46]
42. Rolling Stones - Everybody Needs Somebody To Love (March 1, 1965; Broadcast March 6)[03:29]
43. Rolling Stones - Down The Road Apiece (March 1, 1965; Broadcast March 6)[02:02]
44. Rolling Stones - The Last Time (March 1, 1965; Broadcast March 6)[03:05]
45. Rolling Stones - Interview With Mick Jagger & Brian Jones (March 1, 1965; Broadcast March 6)[00:49]
46. Rolling Stones - Mercy, Mercy (Aug 20, 1965; Broadcast Aug 30 And Sep 18)[02:47]
47. Rolling Stones - Oh Baby (We Got A Good Thing Going) [Aug 20, 1965; Broadcast Aug 30 And Sep 18][01:51]
48. Rolling Stones - Interview With Mick Jagger (Aug 20, 1965; Broadcast Aug 30 And Sep 18)[00:20]
49. Rolling Stones - (I Can't Get No) Satisfaction [Aug 20, 1965; Broadcast Aug 30 And Sep 18][03:42]
50. Rolling Stones - The Spider And The Fly (Aug 20, 1965; Broadcast Aug 30 And Sep 18)[03:24]
51. Rolling Stones - Interview With Mick Jagger #2 (Aug 20, 1965; Broadcast Aug 30 And Sep 18)[00:47]
52. Rolling Stones - Cry To Me (Aug 20, 1965; Broadcast Aug 30 And Sep 18)[03:04]
53. Rolling Stones - Fanny Mae (Aug 20, 1965; Broadcast Aug 30 And Sep 18)[02:10]

The Rolling Stones' BBC sessions haven't been accorded the same deluxe bootleg treatment as those of The Beatles, for two big reasons: they didn't record nearly as much for the Beeb as The Fab Four, and (unlike The Beatles) didn't record many tracks that they didn't release on record. Good fidelity tapes exist of a few dozen of their mid-'60s BBC airshots, and fans will find them worth picking up. Heavy on R&B covers (the Stones, like The Beatles, didn't record for the BBC after 1965), the tracks, as is par for the course on radio sessions, don't better or usually even equal the studio renditions, but have an interesting rougher live feel. They did manage to let rip on a half-dozen or so unreleased covers, and these items are naturally the most interesting, especially their takes on "Memphis, Tennessee" and their incendiary "Roll Over Beethoven," which is perhaps even better than the well-known Beatle version. ---Richie Unterberger, AllMusic Review

Back in the 1960s, British broadcasting law required a certain amount of live music to be played on the country’s airwaves, essentially in an effort to prevent musicians from losing work to those dastardly job-stealing things known as records. While this requirement was largely phased out by the early 1970s, as a result there are untold thousands of hours of British Invasion-era acts performing live or quickly-recorded versions of their hits, deep cuts, covers and the like, and nearly every act of note has released a “BBC Sessions” compilation …

… Except, until now, the Rolling Stones. For decades, the group essentially ignored the treasures in its vast vault of unreleased material — presumably out of boredom — and consequently their BBC sessions, comprising several dozen tracks recorded between 1963 and 1965 for such quaintly titled radio shows as “Saturday Club,” “Top Gear,” “Rhythm and Blues” and “The Joe Loss Pop Show,” were available only on usually-dodgy-sounding bootlegs. Yet the group has been excavating their vault at a steady clip over the past several years, and now, some 54 years after their first session, a sonically optimized the compilation of the material has arrived. ---Jem Aswad, variety.com

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A1 	Everybody Needs Somebody To Love 	
A2 	Down Home Girl 	
A3 	You Can't Catch Me 	
A4 	Heart Of Stone 	
A5 	What A Shame 	
A6 	Mona (I Need You Baby) 	
B1 	Down The Road Apiece 	
B2 	Off The Hook 	
B3 	Pain In My Heart 	
B4 	Oh Baby (We Got A Good Thing Goin') 	
B5 	Little Red Rooster 	
B6 	Surprise, Surprise

Mick Jagger - Guitar, Harmonica, Keyboards, Vocals
Brian Jones - Guitar, Vocals 
Jack Nitzsche - Keyboards, Percussion, Piano 
Keith Richards - Guitar, Keyboards, Vocals 
Ian Stewart - Keyboards, Organ, Piano 
Charlie Watts - Drums
Bill Wyman - Bass 

Although their third American album was patched together (in the usual British Invasion tradition) from a variety of sources, it's their best early R&B-oriented effort. Most of the Stones' early albums suffer from three or four very weak cuts; Now! is almost uniformly strong start-to-finish, the emphasis on some of their blackest material. The covers of "Down Home Girl," Bo Diddley's vibrating "Mona," Otis Redding's "Pain in My Heart," and Barbara Lynn's "Oh Baby" are all among the group's best R&B interpretations. The best gem is "Little Red Rooster," a pure blues with wonderful slide guitar from Brian Jones (and a number one single in Britain, although it was only an album track in the U.S.). As songwriters, Jagger and Richards are still struggling, but they come up with one of their first winners (and an American Top 20 hit) with the yearning, soulful "Heart of Stone." ---Richie Unterberger, AllMusic Review

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Royal Randswick Racecourse Sydney, February 26, 1973 

1. Brown Sugar
2. Bitch
3. Rock Off
4. Gimmie Shelter
5. Happy
6. Tumbling Dice
7. Love In Vain
8. Sweet Virginia
9. You Can't Always Get What You Want
10. Honky Tonk Women
11. All Down The Line
12. Midnight Rambler
13. Band introductions
14. Little Queenie
15. Rip This Joint
16. Jumping Jack Flash
17. Street Fighting Man

Western Australia Cricket Ground,Perth Australia February 24 1973

1.Brown Sugar 
2.Bitch 
3.Rocks Off 
4.Gimme Shelter 
5.Happy 
6.Tumbling Dice 
7.Honky Tonk Women 
8.All Down The Line 
9.Midnight Rambler 
10.Happy Birthday Nicky Band Introduction 
11.Little Queenie

Bass – Bill Wyman
Drums – Charlie Watts
Guitar – Mick Taylor
Guitar, Vocals – Keith Richards
Piano – Nicky Hopkins
Saxophone – Bobby Keys
Trumpet, Trombone – Jim Price
Vocals – Mick Jagger

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