Free Ebook , by Philippe Margotin Jean-Michel Guesdon
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, by Philippe Margotin Jean-Michel Guesdon
Free Ebook , by Philippe Margotin Jean-Michel Guesdon
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Product details
File Size: 4041 KB
Print Length: 541 pages
Publisher: Black Dog & Leventhal (October 25, 2016)
Publication Date: October 25, 2016
Sold by: Hachette Book Group
Language: English
ASIN: B01BU1ITWS
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I finally received my copy today. It is pretty cool. There are many pictures and the personnel and recording dates and studios are given for the tracks. However, some are followed by a "?" if there is some question about the information included.The songs are arranged by singles and albums rather than strictly by recording dates. Doom and Gloom and One More Shot are listed with Grrrr! for example.Most listings contain both Genesis and Production sections for the songs. There are also 2 asides called "In Your Headphones" and "For Stones Addicts" that are included for some songs. The 'In Your Headphones" listings point out certain sections of the songs to be aware of while listening with headphones while the "For Stones Addicts" sections contain interesting historical tidbits about certain songs.This being said there are some songs that are not included. For example the IBC demos that were included with the Super Deluxe Version of Grrrr! are not included. There are also no separate listings for the tracks on Super Deluxe Editions of Exile on Main St. and Some Girls even though they are mentioned in the text. However since Plundered My Soul and No Spare Parts were issued as singles, they have separate listings as does So Young since it was originally released as cd single only track. The studio track Little Baby from the Stripped album also does not appear. Under The Radar one of bonus songs from A Bigger Bang is not listed as an example.The live version of Little Queenie is mentioned from Get Yer Ya-Ya's Out and has it's own listing (the only song from Get Yer Ya-Ya's Out) and but Corina from No Security does not. The live version of Let It Rock from Leeds 1971 is listed but Crackin' Up and Mannish Boy from Love You Live are not. The entries are somewhat inconsistent with the live releases as some live releases do not have entries at all. There is no entry for Stripped at all. Video releases are also nowhere to be found.There are also no entries for outtakes.This is an great addition to your Rolling Stones library but not totally definitive. I would still hold on to your copies of Martin Elliott's - The Rolling Stones The Complete Recording Sessions and Felix Aeppli's The Rolling Stones - The Ultimate Guide.
I will agree that this would be a hard book to write. Especially in the Stones early days since no one other than Bill remembers and no one kept formal records of the recordings. Let me point out that Brian Jones was as much of a lead guitarist as Keith Richards was in the early days. They both started as dual Jimmy Reed style guitar players. Interlocking guitars. The ancient art of guitar weaving as Keith called it. Both playing lead simultaineously. Honest I Do, Spider and the Fly, Mercy Mercy, High Heeled Sneakers as a few examples. Ian Stewart and Bill Wyman verified this fact many times. And Stu hated Brian Jones for allowing Andrew Loog Oldham to fire him. Brian Jones finally gets credit for playing more than just slide guitar leads. The authors did give him his due on Tell Me. Keith always got credit for playing the electric lead when he played 12 string acoustic rhythm guitar on Tell Me. Brian gets the shaft on Mona. Everyone knows that was Brian Jones doing those Bo Diddley runs and Bo Diddley himself said that Brian was "the only cat who figured it out." How the authors credit Keith is beyond me. Keith did take over as full time lead guitarist when Brian fell apart. Until then Brian was Keith's equal on guitar. Keith had his Chuck Berry licks which put Chuck Berry himself to shame. Jones played everything else on guitar from rhythm to slide to lead guitar. Jones played the monster riff on The Last Time. Keith learned this riffing from Jones as he applied this Brian Jones riffing idea to Satisfaction their very next single. Jones gets his multi-instrumental credit but the authors seemed to downplay his guitar playing at times. Their is one thing I never knew about Brian. He played slide guitar on Grown Up Wrong but also played standard lead during the solo. Bending notes. No one has ever given Brian credit for playing a standard lead on a Rolling Stones record. Just slide guitar which at times Brian was excellant at. Little Red Rooster, I Wanna Be Your Man, I Can't Be Satisfied and No Expectations. I have never heard any guitar player get the sound that Brian got on Little Red Rooster. The last pure blues tune to go number one anywhere in the world. Brian Jones has been getting the shaft since day one. As for Bill and Charlie? Always thought they were underrated as well. Charlie wasn't flashy but he could keep a steady beat. Bill could thump away when you could hear him and he was given the chance. Oldham will always be one of the worst producers in music history. He would mix Brian, Bill and Charlie down unless their part was to important to do so. Especially Brian. Keith was never mixed down. One of the greatest songwriters of all time don't get me wrong. The authors leave you with a lot of question marks. Understandable since breaking down Brian and Keith's guitar parts was never easy. And Mick and Keith to this day still marginalize Brian Jones so they are reluctant to even mention him anymore. They have have been trying to erase him from existance for Fifty years now. The Stones were the sum of five equal parts as Bill has always said. Mick and Keith always get all of the credit but those who really know the Stones know differently. Mick Taylor was just a flat out great lead guitarist. Ron Wood was until he decided to never upstage Keith. Overall it is still a good book. Every song is broken down. If there are question marks the authors did speculate. Sometimes wrong. Sometimes who knows. What I liked is the authors speculating what particular guitar was used for the recording. No one will ever know for sure what exactly was used on a particular song. The Beatles it was easy. George Gretsch. John Rickenbacker until they both took up Casino's. Paul Hofner. The Stones played more of a variety of instruments and amps. I do like when the authors point out mistakes made. Oldham was to stupid and cheap to allow another take to get it right. That's OK because every band makes mistakes. I'm considering getting these same authors book about the Beatles. Less mystery there though. George played lead. John played rhythm. Paul snuck in lead guitar and drums occasionally. And they basically used the same instruments in the studio and live. Last but not least was Ian "Stu" Stewart. Great boogie woogie piano player the contributed some great keyboards to quite a few Stones tracks. Overall I give the book a four star. An attempt to contact Bill Wyman to offer more insight on the early days may have helped clear up a lot of those question marks. If you are a Stones fan who is curious about what they did in the studio then it is worth it.
This book is a treasure for anyone who is a rock solid Rolling Stones fan. It groups songs by the LP that had them. Each song has a story of how it was conceived, written, and put together for production/singing. There are facts about the Rolling Stones members that are quite interesting. Many of these are included in the songs' stories.If you are one of those who wants to have information about all of the Rolling Stones' songs and albums, this is the book for you.Amazon has the best price for this book, also.
This book is great. It was a gift for my husband who loves it. But be aware, it's wicked heavy. Have a sturdy coffee table for this bad boy. I can't picture anyone reading this in bed, not without a spotter anyway. It's easily the heaviest book in our library.
From a design perspective, this book has it all. Nice layout, great photos, cool breakout boxes and plenty of white space. But for The Rolling Stones fan that I am (soaking up the knowledge since my college days), this book almost raises as many questions as it answers. Pure (well-researched) speculation in some instances that I could have written myself. All of this loaded with (?)s on nearly every page. It doesn’t cover the outtakes, either. I learned more reading the Complete Recording Sessions, which is more concise and assured in telling me just the facts. Buy this if you’re a casual fan and want a good coffee table read. Buy the Complete Recording Sessions if you couldn’t care less about pictures and layout, already know a lot about the albums, who played what, and want the nitty gritty truth on the sessions, including the songs that were never released.
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