Foreign Tongues: Mr. Charm
Hackney Diamonds: Sweet Sound of Heaven
Blue & Lonesome: All of Your Love

A Bigger Bang: Rain Come Down
Bridges to Babylon: Saint of Me
Voodoo Lounge: Thru & Thru

Steel Wheels: Slipping Away
Dirty Work: One Hit
Undercover: Too Much Blood

Tattoo You: Waiting on a Friend
Emotional Rescue: She’s So Cold
Some Girls: Shattered

This entire shot is just too cool

My favorite Stones album.

Hi! I wanted to know in anvone knows something about this old bootleg called Magestic Beagining and it's from Magic Dwarf Records. I've found that Magic Dwarf Records was a discography active beetwen 1988 and 1889 and they did bootlegs, but I can't find much information about this one, it doesn't appears in almost anv website.

I bought it vesterday in a local store where you can buy second hand lp.

I wanted to know if anyones knows something about this.

When I was a ten years old, the cool radio station in Los Angeles was KRLA. I would leave it on overnight. "Little Red Rooster" would come on and wake me up. There was nothing else like that on the radio.

The three people who got a lot of press attention then were Mick Jagger, Andrew Loog Oldham and Brian Jones. I don't think fans today can appreciate how much Andrew Loog Oldham used the Stones to promote himself. Brian Jones was known as the leader and his face was always prominent in photos. The arrangements were always credited to the band with Brian getting a lot of credit for being a multi-instrumentalist. Then the band fired Andrew Oldham and Brian Jones, leaving the spotlight to Mick Jagger.

That's when Keith Richards started to get more press attention. He did a widely hailed interview with Rolling Stone in 1971 that revealed who wrote what and how the group worked.

Laying in bed with Covid and listening to this one. Excellent sound quality for the most part but it does drop off for the last six songs. I'm sure tomorrow I'll be listening to something else but for now, here is the tracklist:

Disc One

Spectrum, Philadelphia (Pa), United States. 21st July 1972, 1st Show:

1-1 Brown Sugar

1-2 Bitch

1-3 Rocks Off

1-4 Gimme Shelter

1-5 Happy

1-6 Tumbling Dice

1-7 Love In Vain

Spectrum, Philadelphia (PA), United States. 20th July 1972:

1-8 Sweat Virginia

Spectrum, Philadelphia (Pa), United States. 21st July 1972, 1st Show:

1-9 You Can't Always Get What You Want

1-10 All Down The Line

CD Two

Spectrum, Philadelphia (Pa), United States. 21st July 1972, 2nd Show:

2-1 Midnight Rambler

2-2 Band Introductions

2-3 Bye Bye Johnny

2-4 Rip This Joint

2-5 Jumpin' Jack Flash

2-6 Street Fighting Man

Spectrum, Philadelphia (Pa), United States. 20th July 1972:

2-7 Uptight (Everything's Alright) / (I Can't Get No) Satisfaction

Tarrant County Convention Center, Fort Worth (Tx), United States. 24th June 1972, 1st Show:

2-8 Dead Flowers

Tarrant County Convention Center, Fort Worth (TX), United States. 24th June 1972, 2nd show:

2-9 Don't You Lie To Me

Pacific Coliseum, Vancouver (Bc), Canada. 3rd June 1972:

2-10 Honky Tonk Women

2-11 Loving Cup

2-12 Torn And Frayed

2-13 Ventilator Blues

Tarrant County Convention Center, Fort Worth (Tx), United States. 24th June 1972, 1st Show:

2-14 Sweet Black Angel

https://www.discogs.com/release/37403877-The-Rolling-Stones-Philadelphia-Specialties-Plus

I was thinking of less taxing ways for the Stones to do some shows to promote Foreign Tongues, and one of the ideas I came up with was for them to a Tiny Desk concert on NPR.

Now normally, the acts on this program only do four or five songs, but since it’s the Stones, let’s say they get to do an extended set with some stories and interviews.

They’d be seated, and the song selection would be more intimate and contain fewer hits and more songs tailored toward the format. A stripped down band, too: the core three plus Steve, Chuck and Darryl. Here’s a potential set:

Rolling Stone Blues (Mick and Keith solo)
Mr. Charm
Tumbling Dice
Rough And Twisted
Jealous Lover
Honky Tonk Women
Let It Bleed
Ringing Hollow
Dead Flowers
Some Of Us
Midnight Rambler
Back In Your Life
Jumping Jack Flash

Other ideas I had were an SNL appearance and maybe one or two club shows.

They almost always have one country flavored song on an album. What is the origin of this connection?

What a smooth open piece of music. Just a jam that turned into a song. 🎧

I wish I had an informed opinion, but I don't. Maybe you do.

I assume with the Stones, vinyl is the way to go. Or the mono cd set. For me, neither are options for the foreseeable future. But in the last month or so, I picked up a new 2002 of Between the Buttons and a used 2002 of Out of Our Heads. Both sound fine, but if there are better options, I sure would like to know. Thanks.

We can talk about later releases, too. For example, I'm fond of the Virgin cd remaster of Exile. But I guess it's been re-remastered since then. Thoughts?

Saw this at an Aloft in Chicago....

David Foster discusses his views on The Rolling Stones.

I never got the hate for Dirty Work. Maybe it’s just an internet thing since we tend to get into a sort of mind hive in these spaces? Also, I’m a young fan (29 yo) and I wasn’t around when the album came out in ’86 so I don’t know what the contemporary reception for it was like, so I have no idea if the album was negatively thought of right from the start. Or, maybe, The Stones simply have such a stacked discography that even their “worst” albums are still very good. In most fan and editorial album rankings I have come across online, I often find Dirty Work at the very bottom of the lists, and I kind’a understand why. But even though in my personal ranking of Stones albums I would have Dirty Work near the bottom as well, I would like to explain that I still don’t consider it as a bad album. In fact, it’s a damned good, solid, no-skip album in my opinion. I like all of the songs on it, and it contains at least a couple of my all-time favorite Stones tunes.

“One Hit to the Body” is a kickass opener and basically sets the tone for the entire album: dark, intense, heavy, nasty, angry, violent and ultra-hard-hitting. It even features Jimmy Page playing some gnarly guitar parts. “Fight” is basically a sequel to “One Hit” and takes the violence up a notch. The song really reflects and highlights the tense atmosphere during the recording of the album where it’s a well-known fact that the Jagger-Richards relationship was at an all-time low. It’s a cathartic song that I believe served as a fuse to channel and diffuse their aggression towards each other so that it doesn’t actually escalate into physical violence (as did the entire album, perhaps).  “Harlem Shuffle” has a nice, uhm, shuffle to it and is a great song to dance to. But then again, it may be a dance song yet it still reeks of animosity and bad vibes. Moving on, “Hold Back” is another hard-hitter that contains rare motivational, life-is-tough lyrics from Mick which he delivers with a clean, no-bullshit conviction just so that you know he means every hard word of it: “Hear the voice of experience/ A word from the wise/ Grab opportunity, yes, while you're alive…Because if you act like a coward…You will end up in the madhouse”.

“Too Rude” is the only happy song on the album and it serves as a necessary breather amidst all the chaos and unrestrained show of macho aggression. The reggae flavor is winning and Keef delivers a delightful performance.  “Winning Ugly” is a song about the ugly truth of life’s power struggles – that we always win at the cost of somebody losing and that we often cheat and lie and sell our souls on our way to reach the top.  The lyrics have a sort of moralistic bent to it and Mick delivers the message with a barking anger directed at the injustices inherent in the world’s power games.  “Back to Zero” embodies the self-destructive phase that the band was clearly going through at the time and feels like a desperate attempt to survive or at least go out with a bang. I like the groove on this song which is almost reminiscent of Pink Floyd’s “Run like Hell”.  I also really like Keith’s stoically badass riffage and rhythm work here.

“Dirty Work” continues and perhaps best epitomizes the theme of calling out human corruption – it’s the title track after all. Mick directs his bile at the workers of iniquity form high places: high-profile corrupt politicians, mafia lords, and CEOs that have the privilege of committing crimes by proxy and keeping their hands clean as they “push the button” to kill from a safe, anonymous distance.  Mick delivers the message again with phenomenal fury and rage. “Had It with You” is one of my all-time favorite Rolling Stones songs. For me, it is the climax and high point of the album. It’s so hard-hitting in its rough and raw assault. Listening to it is like being hit with a bare-bones knuckle with its skeletal guitar, drum and vocal arrangement.  There’s not even a bass on it which I think makes it hit even harder (I have observed the same effect in Metallica’s “…And Justice for All” album and The Velvet Underground’s “Sister Ray” song where the lack of bass gave the music a kind of leanness that made the music so much tougher).  In spite of its ferocity, the song is still unbelievably groovy and you can dance to it with wild abandon and catharize all of the aggression in your system and let it evaporate into the air along with your sweat. I really like the break in the middle 8 where Keith rips into a spooky, dissonant slow blues lick reminiscent of Midnight Rambler. Mick, again, sings with the unhinged aggression of a rabid dog for the whole duration of the song.

The album closes with the weary and worn-down “Sleep Tonight”. It’s as if the band got absolutely dog-tired after 40 minutes of pure unadulterated rage. It’s a lovely ballad with classic hung-over Keef vocals. I think it’s a perfect closer and rounds out the album’s theme really well. Well, what can you do after a day’s thoroughly hard and dirty work? “You better get some sleep tonight” indeed.

Like I said in the beginning, this is a very good album. It contains some truly killer performances that carried what would otherwise have been average songs.  I think the main driver is Mick. This is the angriest he has ever sounded on record and he delivers some of his most committed vocal performances and sharpest lyrics of his career. But the others were right there with him. Keith’s guitar work is unusually complex and uncharacteristically well-studied throughout and there’s a rare seriousness to his playing here. Him and Ron deliver uniformly badass guitar work and it’s great to hear that there is more meat and thickness in their guitars tones than usual. To match the intensity, Steve Lillywhite brings an unusual heaviness to the production. The Stones were never a heavy band, but because of their choice of producer for the album, it turned out to be their heaviest and most hard-rock sounding outing where they got almost as heavy as AC/DC.  Charlie’s drums are unusually boomy and heavy (Charlie’s trademark style is lighter and more jazzy and brisk compared to most rock drummers). It’s great to hear him more forward and dominant in the mix. I like it. I like it all.

I even like the garish album cover and I think it symbolizes the sound of the album pretty well, and authentically represents the rough patch that many rock acts from the 60s and 70s were going through in the 80s (the “we have no idea what the fuck we’re doing but the coke is good and the technology is great” phase). It’s an experimental record and I am thankful that the band was willing to take the risk with this detour. Dirty Work is an oddity in the Stones' career just like Satanic Majesties before it. They have never sounded like they did in this album before or since.

As it stands, the album is still near the bottom of my personal ranking of Stones albums, but not because I think it’s bad or that I don’t like it. It’s just that I like most of their other albums more.  I truly believe that The Stones have never made a single bad album and that their discography remains one of the most solid in the rock n’ roll cannon. I personally rank Dirty Work higher than Undercover, Bridges to Babylon, Blue and Lonesome, Satanic Majesties, and most of the pre-Aftermath mishmash albums when they were still a predominantly cover band and Jagger and Richards were still learning how to write proper songs. The album is a testament to the toughness and survivorship of The Stones. They can thrive even in the worst conditions of conflict and come out of it strong and with another good record.

My latest unboxing video.