The Rolling Stones - The Rolling Stones, Now! [Japanese Ed.] (1965)

♠ Year: 13 February 1965 (CD Apr 25, 1989)
♣ Label: Polydor Records (Japan), P25L 25034
♥ Style: Classic Rock, Rhythm and Blues, Rock and Roll
♦ Country: London, England
♪ Time: 36:25
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 198 Mb

U.S. issues of the UK Rolling Stones No. 2 LP.
It was a love of the blues and early American R&B that forged the friendship between a teenage Mick Jagger and Keith Richards down Dartford way, so it’s only fitting that the Rolling Stones’ second release continued to rely upon these building blocks.
Consequently, we’re treated to the fledgling Stones’ take on Chuck Berry’s You Can’t Catch Me, a fairly faithful rendering, but with Jagger’s decidedly English sneer and Richards’ rolling, ramshackle riffery adding to its original charm.
The Jagger/Richards songwriting partnership also gains momentum, with three composition credits to their name – Off The Hook with its Yardbird-esque guitar motif and relentless refrain; What A Shame is a bluesy bruiser and gives bassist Bill Wyman a moment to shine under Brian Jones’s sparse bottleneck, while Grown Up Wrong pays real homage to their hero Mr Berry.
But in terms of solid blues prowess, it’s the band’s interpretation of Muddy Waters’ I Can’t Be Satisfied that truly impresses – Brian Jones’s fluid slide playing on this track was seldom bettered.
No.2 was a monster hit in the UK, and deservedly so as it convincingly straddled the bridges between the blues and rock’n’roll and set the blueprint for the relentless Rolling Stones march into the future.
(loudersound.com/features/the-best-30-british-blues-rock-albums-ever)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Everybody Needs Somebody To Love (Version 2) (03:01)
02. Down Home Girl (04:15)
03. You Can't Catch Me (03:40)
04. Heart Of Stone (02:52)
05. What A Shame (03:09)
06. I Need You Baby (Mona) (03:37)
07. Down The Road Apiece (03:01)
08. Off The Hook (02:39)
09. Pain In My Heart (Version 1) (02:15)
10. Oh! Baby (We Got A Good Thing Goin') (Version 1) (02:12)
11. Little Red Rooster (03:08)
12. Surprise, Surprise (02:30)

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Ronnie Wood (The Rolling Stones) - 1234 [Japanese Ed.] (1981)

Year: 2 September 1981 (CD 1 mar 1992)
Label: Sony Records (Japan), SRCS 6174
Style: Rock, Pop Rock, Classic Rock
Country: Hillingdon, Middlesex, England (1 June 1947)
Time: 38:24
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot - look, there's Ron riding a camel under some jets - to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited - and every track boasts a different lineup. Many of the usual suspects appear, including sub-Stones keyboardist Ian McLagan, pianist Nicky Hopkins, and saxophonist Bobby Keys; R&B vocalist Bobby Womack; and pianist Nicky Hopkius. Even Stones drummer Charlie Watts pops up on a couple of tracks. Also, this rarefied company didn't have decent material to stretch out their chops. Most of the songs sound like demos or unfinished sketches with new overdubs - like the instrumental "Redeyes," which seems little more than an excuse for Wood to trot out his Dobro skills.
"Wind Howlin' Through" asks if the listener can hear that happening, but little more, and wastes a drumming cameo from Devo's Alan Myers. Wood's vocals are strained - and often impossible to decipher. They're little more than huffs and puffs on the otherwise thumping title cut, and they spoil the reggae-ish "She Was Out There," which is one of the better moments here - but "Fountains of Love" is lackluster blue-eyed soul that doesn't get off the ground. The best moments are the least contrived, notably the country-ish swagger of "Outlaws"; the glistening "Priceless"; and "She Never Told Me," which boasts a lengthy, biting guitar solo. However, it arrives too late to save this album. While hardly a total embarrassment, 1234 is easily Wood's least distinguished solo effort, although his drawings are nice.
(allmusic.com/album/1234-mw0002560769)

01. 1234 (03:29)
02. Fountain Of Love (05:11)
03. Outlaws (04:02)
04. Redeyes (03:33)
05. Wind Howlin' Through (03:04)
06. Priceless (04:20)
07. She Was Out There (05:14)
08. Down To The Ground (03:37)
09. She Never Told Me (05:50)

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Bill Wyman (The Rolling Stones) - Back To Basics (2015)

Year: 22 June 2015 (CD Jun 22, 2015)
Label: Ripple Productios Ltd (UK), PRDCD125
Style: Pop Rock, Blues Rock, Classic Rock
Country: Lewisham, London, England (24 October 1936)
Time: 43:19
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

When Bill Wyman left his post as bassist for the Rolling Stones in 1993 after thirty years, it wasn’t a departure from the musical world. He’s been recording and touring with his band the Rhythm Kings since then, but now is releasing a new solo album; the first UK release under his own name in thirty three years! Back To Basics is aptly named, as it is totally stripped back, while touching on the easy-going feeling that the Rhythm Kings give off. Its strength is in its unashamed simplicity.
A large part of this comes from the fact that Wyman’s vocals are just so chilled. The opening track What & How & If & When & Why, for example, is an instrumentally upbeat blues-rock track with a brass section and recurring guitar, but the delivery of the lyrics subdues the overall tone. It’s a raspy, half talking, half singing kind of delivery that feels intimate and very honest; there’s nothing pretentious going on here.
Every track is fluid, instrumentally, and adds various extras to develop its own character. We get some call and response with a female vocalist in Seventeen, flamenco style Spanish guitar in November and some sultry blues harmonica  and melancholy organ in the closer I Got Time, which ends the album on a bit of a downer.
As a whole, though, everything is really cohesive, and Wyman sounds totally at home with the songwriting and delivery. The lyrics are simple, and can be easily comprehended. It’s nice to be able to hear every single word without having to even concentrate, and the themes are relatable “We had it all when we were together/We had it all, thought it was forever” (from Running Back To You). Although it’s an enjoyable listen top to bottom, Stuff (Can’t Get Enough) is definitely a stand out track for me. The rhythm of the vocals in the chorus over straight instrumental backing is a contagious and playful combination that is sure to follow you around for the rest of the day.
Back To Basics isn’t a novel release that breaks into new territory, but if it were, the album would be falsely named. It is a record that reflects the extensive musical career of a man who has nothing to prove. This is not a release aimed at boosting Bill Wyman’s profile, it’s an expression of one of the man’s passions that is still burning bright.
(renownedforsound.com/album-review-bill-wyman-back-to-basics/)

01. What & How & If & When & Why (03:37)
02. I Lost My Ring (03:36)
03. Love, Love, Love (03:40)
04. Stuff (Can't Get Enough) (04:05)
05. Running Back to You (04:00)
06. She's Wonderful (03:56)
07. Seventeen (03:49)
08. I'll Pull You Through (03:06)
09. November (03:44)
10. Just a Friend of Mine (03:41)
11. It's a Lovely Day (02:05)
12. I Got Time (03:54)

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Keith Richards (The Rolling Stones) - Eileen [Maxi-Single] (1993)

Year: January 1993 (CD 1993)
Label: Virgin Records (US), V25H-12647
Style: Rock, Classic Rock
Country: Dartford, Kent, England (18 December 1943)
Time: 23:55
Format: Flac Tracks 16/44,1 kHz
Size: 161 Mb

01. Eileen (04:31)
02. Gimme' Shelter (Live) (06:29)
03. Wicked As It Seems (Live) (05:22)
04. How I Wish (Live) (04:10)
05. Key To the Highway (03:21)

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Keith Richards (The Rolling Stones) - Crosseyed Heart (2015)

Year: 18 September 2015 (CD Sep 18, 2015)
Label: Mindless Records (US), 602547394002
Style: Blues Rock, Classic Rock
Country: Dartford, Kent, England (18 December 1943)
Time: 58:07
Format: Flac Tracks 16/44,1 kHz
Size: 405 Mb

The Rolling Stone’s first solo album in 23 years contains exactly what one might hope for. There are beautifully played old blues songs, storming Stonesy rockers (Heartstopper, the ferocious Blues in the Morning), a sublime Gregory Isaacs reggae cover (Love Overdue) and outlaw songs about evading the authorities (Trouble). There’s dry humour in a touching lament about, ahem, the theft of a “stash” (Robbed Blind, in which he cackles: “The cops, I can’t involve them”) and the jerkily funny Amnesia, about the 2006 incident in which he fell out of a tree (“Thought I met my mother / She said: ‘You don’t belong to me’”). Contrarily, there are also several beautiful, heartfelt ballads. Richards’ fag-soaked voice isn’t as conventionally strong as Mick Jagger’s, but it is rich with character and knowing. The gorgeous Nothing on Me – about surviving whatever life throws at him – is as great a song as the 71-year-old has put his name to in decades. A terrific album, worthy of one of rock’s founding fathers.
(theguardian.com/music/2015/sep/17/keith-richards-crosseyed-heart-review)

01. Crosseyed Heart (01:52)
02. Heartstopper (03:04)
03. Amnesia (03:35)
04. Robbed Blind (04:00)
05. Trouble (04:17)
06. Love Overdue (03:28)
07. Nothing On Me (03:47)
08. Suspicious (03:42)
09. Blues In The Morning (04:26)
10. Something For Nothing (03:28)
11. Illusion (03:48)
12. Just A Gift (04:01)
13. Goodnight Irene (05:46)
14. Substantial Damage (04:21)
15. Lover's Plea (04:23)

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Bill Wyman (The Rolling Stones) - Stuff [Japanese Ed.] (1992)

Year: October, 1992 (CD Oct 21, 1992)
Label: Victor Entertainment Inc. (Japan), VICP-5202
Style: Pop, Synth-Pop
Country: Lewisham, London, England (24 October 1936)
Time: 39:27
Format: Flac Tracks 16/44,1 kHz
Size: 275 Mb

Even many serious Rolling Stones fans aren't aware that Bill Wyman issued a solo album in the early '90s, as Stuff initially came out only in Japan and Argentina. Like some other Stones projects of the time, it wasn't recorded in a concentrated dose, but pieced together from sessions dating back as far as September 1988. Even had it benefited from a worldwide release, however, it's hard to see how many fans - of the Rolling Stones or otherwise - would have taken to the record, for these are largely basic, repetitious funk-disco-dance-based tunes with a dated 1980s synthetic production. Wyman's thin, hoarse vocals don't help, and while it's possible these are intended more as satires of a trendy style or '80s stars like Prince than serious artistic statements, the wit is so mild that any jokes are wont to pass largely unnoticed. "Fear of Flying" at least opts for a more serious and menacing mood, and "Affected by the Towns" for more of a humorous straightforward soul-funk vibe, though those songs aren't anything to crow about. Just one hint of Wyman's '60s classic rock roots is here, on an unexpected cover of Ray Davies' "This Strange Effect" (covered by British star Dave Berry in the mid-'60s), and it says something about the rest of the album that the song is by far the most memorable tune here.
(allmusic.com/album/stuff-mw0000776311)

01. If I Was A Doo Doo Doo (04:19)
02. Like A Knife (03:33)
03. Stuff (Can't Get Enough) (03:27)
04. Leave Your Hat On (03:39)
05. The Strange Effect (03:38)
06. Mama Rap (05:06)
07. She Danced (04:43)
08. Fear Of Flying (04:04)
09. Affected By The Towns (03:32)
10. Blue Murder (Lies) (03:21)

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Keith Richards & The X-pensive Winos - Live At The Hollywood Palladium, December 15, 1988 (1991)

Year: 10 December 1991 (CD )
Label: Virgin Records (UK), CDVUS 45, 262 439
Style: Rhythm and Blues, Rock and Roll
Country: Dartford, Kent, England (18 December 1943)
Time: 67:31
Format: Flac Tracks 16/44,1 kHz
Size: 440 Mb

Live at the Hollywood Palladium, December 15, 1988 is a live album by Keith Richards, released on 10 December 1991 in the United States and 24 February 1992 in the United Kingdom. Recorded during a brief American tour in support of Richards debut solo album Talk Is Cheap in late 1988, Richards is supported by a set of musicians and friends dubbed "The X-Pensive Winos".
At the end of the opening song, Richards says that the Palladium is "a stage I've been thrown off many times"; he was referring to Chuck Berry's concert there on January 21, 1972, when Richards tried to perform with his idol, but was purportedly kicked off for playing too loudly, though Berry later claimed he had not recognized Richards.
Richards' set during the tour was composed primarily of material from his solo debut album – he played nine of the eleven songs from the record.
Live at the Hollywood Palladium, December 15, 1988 was recorded, videotaped, and ultimately released as an album at the suggestion of Jane Rose, Richards tenured manager. Officially credited as executive producer, she encouraged Richards to consider the official release after showing the reluctant star bootlegs of inferior audio quality.[4] The album was released in North America during the Christmas season, in the wake of the Stones live album Flashpoint, and before the recording of Richards' second solo studio album, Main Offender.
(en.wikipedia.org/wiki/Live_at_the_Hollywood_Palladium,_December_15,_1988)

01. Take It So Hard (04:28)
02. How I Wish (04:04)
03. I Could Have Stood You Up (04:29)
04. Too Rude (07:45)
05. Make No Mistake (06:30)
06. Time Is On My Side (04:29)
07. Big Enough (03:47)
08. Whip It Up (05:34)
09. Locked Away (05:48)
10. Struggle (04:35)
11. Happy (07:07)
12. Connection (02:30)
13. Rockawhile (06:19)

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The Rolling Stones - 12 x 5 [Japanese Ed.] (1964)

Year: 17 October 1964 (CD Apr 25, 1989)
Label: Polydor Records (Japan), P25L 25032
Style: Classic Rock, Rhythm and Blues, Rock and Roll
Country: London, England
Time: 31:15
Format: Flac Tracks 16/44,1 kHz
Size: 163 Mb

Imagine that in moments of smart alecky tomfoolery, many a person has looked at the cover of The Rolling Stones’ 12 X 5 and yelled, “Sixty,” soon followed by uncontrollable giggling at their own corny brilliance. Had the same people seen the British EP which featured songs that appeared on 12 X 5, they would have probably yelled “Twenty-five.” In either case, the joke would most likely be met with blank stares and shaking heads, maybe a few befuddled shrugs from people not familiar with multiplication or amused by arithmetic.
The twelve songs by the five piece Stones which comprise 12 X 5 are, like its predecessor, deeply entrenched in rhythm and blues and soul; brimming with lively covers and boasting the support of bad-boy Brian Jones. Unlike its predecessor, the album offers some early Stones originals, which, though they stand on forgivably shaky legs, give a taste of what’s to come. It’s definitely an album of portent, something of a glimpse at the bands roots before Out of Our Heads or the all-original Aftermath.
The album kicks off with Chuck Berry’s “Around and Around.” The cover showcases the rhythm section, Keith Richards’ lead guitar, Jones’ piano and Mick Jagger’s vocals working in unison to create a catchy, bopping whole. The same can be said of “It’s All Over Now,” the rhythm section of Charlie Watts and Bill Wyman demonstrating their immense importance to the band as Jones and Richards guitars open up into solo bravado. “Confessin’ the Blues” crawls with a standard blues riff, Jones and Richards once again sharing guitar duties, seamlessly giving way for Jagger to wrap that mouth of his around a harmonica.
Ushered in by organ or a tasty guitar lick (depending on what version of the song you have) is The Rolling Stones’ first top-ten single stateside, “Time Is On My Side.” Originally recorded by Irma Thomas, Jagger’s lament and taunting backed by the band guide the song from beginning to the fading repetition of the song’s title, pulsing the word “time” for emphasis. Both “Time Is On My Side” and “Around and Around” were the two songs the band played on their first appearance on “The Ed Sullivan Show” in 1964. Apparently frightened by their motley looks, Sullivan vowed to never have them on the show again. In 1967, The Rolling Stones once again appeared on “The Ed Sullivan Show,” this time playing “Let’s Spend the Night Together.”
On the Rolling Stones original songs, it sounds as if Jagger is attempting to tame the muse of lyric writing with a Mars bar and a pouty-lipped pucker. While “Good Times, Bad Times,” the jilted “Congradulations,” and “Grown Up Wrong” aren’t bad by any means, they don’t have the same memorable melodic quality or the lyrical intelligence of what was to come. They stand there for the most part without the pomp, circumstance or flooring power that would characterize, for instance, the riff of “Satisfaction” or the sudden dark blast of “Paint it Black.”
Under the pseudonymous group guise of Nanker Phelge, the band delivers a grooving jam on “2120 South Michigan Avenue.” Named after the street address of Chess Records, the band blends organs, harmonica hums, blistering solos, warm thudding bass and tattering drums. Nanker Phelge also gets the credit for “Empty Heart,” a bounding rhythm and blues track that, along with “Grown Up Wrong,” is arguably one of the best of the album’s originals.
While there’s no iconic Jagger/Richards-written songs on 12 X 5, it’s an album bursting with energy and begging to be heard. By the following year, time matured the group into rock stars grown right, still tied to their roots but coming into their own in a satisfying way.
(treblezine.com/rolling-stones-12x5/) Review by Hubert Vigilla, September 19, 2004.

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Around And Around (03:08)
02. Confessin' The Blues (02:51)
03. Empty Heart (02:39)
04. Time Is On My Side (02:55)
05. Good Times, Bad Times (02:36)
06. It's All Over Now (03:30)
07. 2120 South Michigan Avenue (02:10)
08. Under The Boardwalk (02:48)
09. Congratulations (02:30)
10. Grown Up Wrong (02:08)
11. If You Need Me (02:06)
12. Susie Q (01:49)

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Ron Wood (The Rolling Stones) - Gimme Some Neck (1979)

Year: 20 April 1979 (CD ????)
Label: Columbia Records (Canada), CK 35702
Style: Rock, Pop Rock, Rhythm and Blues
Country: Hillingdon, Middlesex, England (1 June 1947)
Time: 38:23
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

By 1979, Ronnie Wood had carved out for himself a niche as a sideman, first with the Jeff Beck Group, then the Faces and the Rolling Stones. But his previous two efforts at solo success had eluded him. That would change with the April 20, 1979, release of Gimme Some Neck. Produced by Roy Thomas Baker (Queen, the Cars) and featuring cover art by the guitarist himself, the album had a more polished feel than the more organic, basement qualities of Wood's previous work. Wood had also evolved by this time into a more formidable guitar player and singer since earlier in the decade. While still a ragtag wild boy of rock 'n' roll, he now possessed a depth and maturity best illustrated on songs like "Lost and Lonely" and "We All Get Old."
There were the expected appearances of close pals like Mick Jagger, Keith Richards, Dave Mason, Mick Taylor, Charlie Watts, Mick Fleetwood and others, adding their chops to bluesy, rootsy raves, including the similarly named "Worry No More" and "Don't Worry." But there was one song in particular that stood out. In his memoir, Ronnie, Wood tells a story of hanging out one night in 1975, in the studio with Eric Clapton, who was working on his album No Reason to Cry. Bob Dylan was also taking part in the sessions, which took place not far from his home in Zuma Beach, Calif.
"(Dylan) was writing a song at the time called ‘Seven Days,’" Wood recalled. "I know he liked me because, out of the blue he just gave it to me. He said, ‘You can have this one, Woody.’”
That song stands out on the record as a true tour de force, a rollicking and rambling road ode that almost feels like Wood is channeling Dylan throughout. Gimme Some Neck became Wood’s bestselling solo album, reaching No. 45 on the Billboard 200. As a result of the album's success, coupled with the fact that the Stones had no tour 1979 plans (save for a couple of benefit shows played as a result of Richards arrest) , Wood took a band on the road to promote the album. Called the New Barbarians, they toured throughout spring 1979 across North America and in August they opened for Led Zeppelin at the Knebworth Festival in England. The band included Richards, bassist Stanley Clarke, former Faces keyboard player Ian McLagan, saxophone player Bobby Keys and drummer Joseph "Ziggy" Modileste of the Meters. The set list featured songs from Gimme Some Neck along with a smattering of Stones tunes and cuts from Wood’s earlier solo albums.
The Stones soon returned to the studio to begin work on the next year's Emotional Rescue. But for Wood fans, 1979 will forever stand out as the time when he released his most solid solo album while also embarking on a typically gypsy-style tour built not around a dynamic front man, but the seductive, artistic weaving between he and his musical soul mate Richards.
(ultimateclassicrock.com/ronnie-wood-gimme-some-neck/)

01. Worry No More (02:33)
02. Breakin' My Heart (04:17)
03. Delia (00:42)
04. Buried Alive (03:37)
05. Come to Realise (03:52)
06. Infekshun (04:03)
07. Seven Days (04:10)
08. We All Get Old (04:09)
09. F.U.C. Her (03:15)
10. Lost and Lonely (04:14)
11. Don't Worry (03:25)

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The Rolling Stones - England's Newest Hit Makers [Hybrid SACD] (1964)

Year: 17 April 1964 (CD Oct 21, 2002)
Label: ABKCO Records (Europe), 8822872
Style: Rhythm and Blues, Rock and Roll
Country: London, England
Time: 31:19
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

The American edition of the debut LP.
The British version of the Stones' first album has a nearly identical cover to its American equivalent, issued six weeks later, but a slightly different song lineup. Among these 12 songs, absent is "Not Fade Away," which was a hit single in England (where singles and LPs were usually kept separate), and in its place is the Stones' cover of Bo Diddley's "Mona (I Need You Baby)" (credited here as "I Need You Baby"), which had to wait until Rolling Stones Now!, a year later, for its U.S. release. It's not a big switch, a Bo Diddley-style cover of a Buddy Holly song bumping an actual Bo Diddley cover on the U.S. version. Otherwise, the main difference lies in the version of "Tell Me" included here, which sounds about two generations hotter than any edition of the song ever released in the U.S. -- it's the long version, with the break that was cut from the single, but the British LP and the original late-'80s Decca U.K. compact disc (820 047-2) both contain a version without any fade, running the better part of a minute longer than the U.S. release of the song, until the band literally stops playing.
(allmusic.com/album/the-rolling-stones-englands-newest-hit-makers-mw0000195499)

01. Not Fade Away (01:48)
02. Route 66 (02:21)
03. I Just Want to Make Love to You (02:18)
04. Honest I Do (02:10)
05. Now I've Got a Witness (02:32)
06. Little by Little (02:40)
07. I'm a King Bee (02:37)
08. Carol (02:34)
09. Tell Me (04:05)
10. Can I Get a Witness (02:56)
11. You Can Make It If You Try (02:02)
12. Walking the Dog (03:09)

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The Rolling Stones - The Rolling Stones [Japanese Ed.] (1964)

Year: 17 April 1964 (CD Apr 25, 1989)
Label: London Records (Japan), P25L 25031
Style: Rhythm and Blues, Rock and Roll
Country: London, England
Time: 33:16
Format: Flac Tracks 16/44,1 kHz
Size: 185 Mb

The British edition of the debut LP.
Much is said about comparing The Beatles with The Rolling Stones, even hinting at a certain rivalry between the two bands. “Yesterday”, during a very interesting conversation, we concluded that comparing The Beatles to The Stones is like comparing apples to oranges. While one focused on creating the foundations for Pop, the other aimed to design a rebellious sound, both rooted in Rock.
The reality of this matter (at least in the beginning) is that The Beatles themselves propelled The Stones to fame, especially George Harrison, who persuaded Decca Records to sign them... and that’s exactly what happened. It is even said that The Beatles frequented the ‘Crawdaddy Club’ in Richmond, London, to watch The Stones, where they gained a significant fan base.
In 1964, The Rolling Stones debuted with their eponymous album, featuring 12 songs, of which only one is original, ‘Tell Me (You’re Coming Back)’, composed by Mick Jagger and Keith Richards.
We can hear a sound inspired by R&B and, of course, Rock & Roll. Practically, it is a cover album. However, The Rolling Stones refreshed all these songs and added that touch of rebellion that the generation needed to break conventional music and societal stereotypes.
Mick Jagger’s voice became the band’s hallmark from this album. Despite not possessing vocal virtuosity, he proposed something entirely different that would serve as a strong foundation for Rock in general, with a message of ‘You don’t have to be perfect to be in a band’. This influence, especially for Punk, was tremendous, as can be heard on albums like “Never Mind The Bollocks” (1977) by Sex Pistols.
The album was recorded in an express manner, in just 5 days! Consequently, it’s not perfect, which gives it a nostalgic sound and provides context regarding the technology of the time. Speaking of production, it contributes to the album sounding “heavy” for its era, maintaining the distortion peaks that are sometimes heard in the vocals.
It’s not just about Keith Richards‘ and Brian Jones‘ guitars, Bill Wyman‘s bass, and Charlie Watts‘ drums. Mick Jagger himself played the harmonica, and we can even hear a completely instrumental track, “Now I’ve Got A Witness”, where Ian Stewart played the organ. Stewart was part of the band but unofficially, as the band’s manager did not see him fit as a permanent member due to his marketing conception.
Certainly, the blues is present in songs like “I’m a King Bee”... a white version of the genre that began to hint at something more, a revolution that would soon scare the conservatives and liberate the rebels through art. Yes, we are talking about the official birth of Rock, with an audience that would gradually demand more.
And yes, dancing in Rock has always been, in one way or another, essential, the need to move the body and release that beautiful energy caused by our dopamine... The Rolling Stones add variety to the album with tracks like “Carol” or “Can I Get a Witness”, songs designed for fast and uncomplicated Rock N’ Roll dancing, with a very good display of guitars between Richards and Jones.
It’s impressive how, after so many years, we have the opportunity to listen to such an important part of music history. This album is entirely groundbreaking; it represents the desire of five individuals to leave a mark on the world, to do things differently, and at the same time, serve. They set an example, as their song “You Can Make It If You Try” says... that nobody can limit you. You can do anything you want as long as you manifest it and work on it.
(therockreview.net/the-rolling-stones-the-rolling-stones-eng/)

01. Route 66 (02:22)
02. I Just Want To Make Love To You (02:19)
03. Honest I Do (02:11)
04. Mona (I Need You Baby) (03:36)
05. Now I've Got A Witness (02:31)
06. Little By Little (02:41)
07. I'm King Bee (02:37)
08. Carol (02:36)
09. Tell Me (04:08)
10. Can I Get A Witness (02:58)
11. You Can Make It If You Try (02:03)
12. Walking The Dog (03:10)

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Ron Wood & Ronnie Lane - Mahoney's Last Stand (1976)

Year: September 1976 (CD 1998)
Label: New Millennium Communications (UK), PILOT 29
Style: Rock, Pop Rock
Country: Hillingdon, Middlesex, England (1 June 1947)
Time: 55:07
Format: Flac Tracks 16/44,1 kHz
Size: 326 Mb

Mahoney's Last Stand is an album by Faces bandmates Ronnie Wood and Ronnie Lane, recorded in 1972 (with sessions overlapping with the early rehearsals for the Faces' final studio album Ooh La La). It is the music soundtrack album of the low-budget 1972 Canadian film Mahoney's Last Stand (original US title: Mahoney's Estate)[1] starring Alexis Kanner (who also produced the film), Sam Waterston and Maud Adams. The film itself, little seen at the time of its release and even less so since, charts the progress of city-dweller Mahoney (Kanner) who abandons his urban existence to become a homesteader, and the drama that ensues. Pete Townshend, who guests on guitar on some tracks on the album, also receives a credit in the film for providing 'special electronic effects', alongside Wood and Lane's musical score.
For various reasons the film's release was delayed until 1976, and consequently the soundtrack album suffered the same fate (and to further confuse matters the film has since also been re-released under the title Downtown Farmer). However, due to the relative fame of Wood (and to a lesser extent, Lane), the soundtrack album has remained far more readily available than the film itself.
(en.wikipedia.org/wiki/Mahoney%27s_Last_Stand)

01. Car Radio (04:49)
02. Tonight's Number (03:12)
03. From the Late to the Early (03:42)
04. Chicken Wire (01:58)
05. Chicken Wired (03:43)
06. I'll Fly Away (00:32)
07. Title One (03:32)
08. Just for a Moment (Instrumental) (02:52)
09. 'Mona' the Blues (04:27)
10. Hay Tumble (02:54)
11. Woody's Thing (01:46)
12. Rooster Funeral (03:48)
13. Just for a Moment (02:52)
14. Insurance (04:04)
15. Safety Pin Queen (03:30)
16. Anymore for Anymore (02:03)
17. C&W Number (02:02)
18. My Fault (03:12)

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Bill Wyman (The Rolling Stones) - Bill Wyman (1982)

Year: 26 March 1982 (CD 1996)
Label: Sequel Records (UK), NEM CD 848
Style: Pop Rock, Rock, New Wave, Synth-Pop[
Country: Lewisham, London, England (24 October 1936)
Time: 40:10
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

After a pair of solo efforts that veered from eccentric yet inspired (Monkey Grip) to eccentric and uninspired (Stone Alone), Bill Wyman perfected his blend of rock & roll and oddball humor into one solid album on 1981's Bill Wyman. Instead of utilizing the all-star group of backup musicians that dominated his previous solo outings, Bill Wyman found the veteran rocker handling much of the instrumentation himself, with only a rhythm section and a few guest stars pitching in. The result is a crisp, consistent sound that mixes the electronic edge of new wave with good, old-fashioned rock & roll production values. Bill Wyman also benefits from catchy, well-written songs that provide a hook-laden backdrop for Wyman's humorous musings: "A New Fashion" is a witheringly acidic send-up of trend-chasing pop stars that layers a memorably melodic chorus over an effectively sparse electronic backdrop, and "Come Back Suzanne" is a one-of-a-kind rock/disco/new wave hybrid that blends power chords with ethereal synth flourishes as Wyman delivers a tongue-in-cheek tale of lost love. Other highlights include "Jump Up," a catchy combination of ska and funk with amusing party-hearty lyrics, and "Girls," a snarling rocker with campy, macho lyrics that could be read as a parody of the Rolling Stones' long line of carnal rock songs. However, the album's masterpiece is "Si, Si, Je Suis Un Rock Star," a deliriously strange but quite funny song that features Wyman delivering a lusty travelogue in a deadpan voice over a backing track that mixes Spanish guitars with burbling synth disco. Ultimately, one's level of interest in Bill Wyman will depend on their love of eccentric humor, but no one can deny that it effectively combines solid songwriting and a sleek, consistent production style. As a result, Bill Wyman is worthwhile listen for classic rock fans who don't mind a little idiosyncratic humor mixed in with their rock & roll.
(allmusic.com/album/bill-wyman-mw0000081271)

01. Ride On Baby (03:55)
02. A New Fashion (04:10)
03. Nuclear Reactions (03:39)
04. Visions (04:14)
05. Jump Up (03:59)
06. Come Back Suzanne (03:25)
07. Rio De Janeiro (04:16)
08. Girls (02:46)
09. Seventeen (03:44)
10. (Si Si) Je Suis Un Rock Star (05:57)

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Keith Richards (The Rolling Stones) - Vintage Vinos [Compilation] (2010)

Year: Nov 2, 2010 (CD Nov 2, 2010)
Label: Mindless Records (US)
Style: Blues Rock, Classic Rock, Pop Rock
Country: Dartford, Kent, England (18 December 1943)
Time: 63:54
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

Vintage Vinos is a compilation album by Keith Richards, released on 2 November 2010. The album features remastered solo and X-Pensive Winos tracks from Talk is Cheap, Live at the Hollywood Palladium, December 15, 1988, Main Offender, and "Hurricane", a special bonus song. Previously available only to fans who donated to Hurricane Katrina relief, the song was recorded during The Rolling Stones sessions for Forty Licks in 2002. Vintage Vinos peaked at No. 40 on the Billboard Top Independent Albums chart. It has sold 21,000 copies in the US as of August 2015.
The release of the disc highlights the release of Richard's book Life.
(en.wikipedia.org/wiki/Vintage_Vinos)

01. Take It So Hard (03:16)
02. Big Enough (03:18)
03. You Don't Move Me (04:50)
04. Struggle (04:12)
05. Make No Mistake (04:55)
06. Too Rude (Live) (07:46)
07. Time Is On My Side (Live) (04:26)
08. Happy (Live) (07:08)
09. Connection (Live) (02:32)
10. Wicked As It Seems (04:45)
11. Eileen (04:29)
12. Hate It When You Leave (04:58)
13. Locked Away (05:46)
14. Hurricaine (01:29)

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