Sticky Fingers

My favorite Rolling Stones album. The record gets overlooked because it was released about the same time exile on Main Street was

I haven't listened to the remastered actual album that much so I can't comment on this remaster vs. previous, but the alternate versions of songs presented here are worth having for anyone who's a fan of the album (and I rarely care about alternate versions). The real meat & potatoes here though is Get your Leeds Lungs out on disc 3, which is nothing short of a stunning live album, which is what the rest of this review will focus on. The Super Deluxe Version is a must purchase for any Stones fan for the Leeds Lungs album, regardless of how many live Stones albums you own. At first glance at the tracklist I was a little disappointed because 8 of the 13 Leeds Lungs tracks are on Get Yer Ya Ya's Out, and another is a bonus track on the deluxe Ya Ya's. However, after one listen I was no longer disappointed but in complete awe of what an incredible album it is. Every song on both this album and Ya Ya's is better on Leeds Lungs. The version of Satisfaction is unlike any version I've heard before- it's virtually devoid of the signature riff but still awesome. I love Leeds Lungs so much, that I would put it up there with the Stones' Brussels Affair and The Who's Live at Leeds as one of my 3 favorite live albums of all time- it would be a tough call between this & Brussels Affair for my absolute favorite. The guitar work on this album is so intense you almost have to listen to it on headphones to pick up everything that's going on. Even the songs on tons of Stones Live albums are substantially better on this album. I own 15 live Stones albums, so I didn't think I'd ever hear a live version of Brown Sugar, Jumpin' Jack Flash, Honky Tonk Women, or Street Fighting Man that blew me away because I've heard so many versions of them, but I was wrong. The versions on here, especially of Brown Sugar, are substantially better than on any other live Stones album. All the songs off Stick Fingers performed live here are incredible; the version of Love in Vain is the best live version I've heard of it, and both Stray Cat Blues & Live With Me blow away their Ya Ya's versions. The version of Midnight Rambler on here is my favorite of any version I've heard- that song alone makes this album worth the price for me. Lastly, the two Chuck Berry covers are absolute stunners, especially Let It Rock, which blows away the Chuck Berry version (and I'm a huge Chuck Berry fan). If you're considering buying this album, buy the Super Deluxe MP3 for the Get Your Leeds Lungs out album. It might be the best $19 you've ever spent.

After reading some other reviews, I was very skeptical about buying a new copy of Sticky Fingers. I received my purchase today and compared it to the same LP that I bought in approx. 1972. Well the sound quality is not bad; it's just different from the 1971 purchase, but that was not a big deal. In some other way, I thought this new mastering was better. As other reviews revealed, my copy did not have any fingerprints, track hiss, pops or skips, and the vinyl was actually thicker and heavier than the original. I will always keep my first LP - it was loved very much, thus it received some scratches and pops and fingerprints with a subtle bit of sugar from mixed drinks. This pressing was not recorded or mastered at the same volume as the original LP, or in comparison to most other albums I own. What is good about that is you can actually hear Mick's guitar playing clearly, and you can hear Keith and Mick blend together and separately very nicely - the vocal and drums do not drown out the guitars - it was mixed very well, and not terribly compressed because of Mick's known presence. I have given some thought as to what is missing about this particular master, and it really has nothing to do with the mastering sound volume. This pressing lacks some of the "fidelity" in the "hi-fidelity" of the original LP. What is missing is the actual "stylus being pulled through the recorded groove" giving us what we are accustomed to hearing when we listen to an LP - that universal low level hiss between songs. Not a big deal. Yes, the zipper is gone. No big deal. If you really want a zipper, cut one out of an old pair of jeans and glue it to the cover!! Don't let the bad reviews and the "Made In France" comments keep you from buying this LP. Please allow me to digress back to 1971 (yes, I am 65). When I was a teenager, I was not allowed to listen to rock music in my parents home or in my new car (because my Dad had purchased it) - yes, I know all that is weird. At that time, 8-track tape was the preferred medium of the decade! For my high school graduation, one of my older sister's bought me an 8-track for my relatively new car. Another older sister bought me my first rock albums (5) but on 8-track tape. I clearly remember the albums: CCR - Cosmos Factory; Steppenwolf - Live; Grand Funk - Live; Beatles - Abbey Road and Stones - Sticky Fingers. I had heard all of these albums at my cousins home, along with many other rock albums. Other than Steppenwolf' "The Pusher" and "Don't Step On the Grass, Sam", the highlight of these gifts was the entire Stones album. This sister was 18 years older than me, and I always thought she was "kind of a drag". Now, she was the best sister any younger brother could have!!! Within the next year I bought a turntable and began my collection of LP's, now about 1000. I still buy vinyl today. There really is nothing better than analog sound in this 2019 world!! Back to this Stones album: One of there best ever!! It is hard to find another rocker like "Can't You Hear Me Knocking". One of the most important attributes to this album was the presence of Mick Taylor. Same with other albums recorded with Mick Taylor's talent - that period of Stones records are their best! Ron is good (he was better with Rod Stewart and Faces) but he is not great. Keith and Mick J. did not treat Mick fairly and gave him less credit and recognition for creativity that he deserved. I have never seen the Stones perform live. I missed this years very short and expensive USA tour. They will be back in another year or so. They may be in wheelchairs, but Keith Richards will never die. His DNA has been altered in a good way, with many illicit substances which well preserved his body and mind.

Disco imprescindible!

Disque vinyle: album de grande qualité, disque épais, pas mince, lourd environ 182 grammes, vérifé sur la balance pour cette galette. Pas de voile ! très bonne qualité de pressage, pas de bruit de surface perceptible (pourvu que cela dure) sur les blancs entre les plages ni sur les passages musicaux, pas de craquement ou presque un seul sur "Dead flower". Bonne richesse spectrale, bonne dynamique, bon niveau à la gravure pas besoin de pousser le bouton de volume de l'ampli. Pour la pochette on peut regretter que la pochette ne soit pas l'originale avec sa fermeture éclair qui révèlait...... un homme en sous vêtement dit la légende, mais bon j'aurais pu l'acheter avant..... Excellent album des Stones s'il en est, célèbre pour l'emblématique "brown sugar" ; "sister morphine" reste mon préféré avec Ry Cooder à la slide guitar une merveille; je retiendrai aussi "Sway", "Wild horses" et surtout "can't you hear me knocking" avec les riffs de gitares de Keith Richard et Mick Taylor. Album très bluesy, mais très varié avec balades et morceau plus rock , Mick Jaggaer au sommet au chant, incontournable pour qui aime les Rolling Stones et ce son si particulier.

Someone stole my original so I needed another copy... Still one of the greatest albums of all time...

Je denkt ik krijg 3 cd,s maar de foto hoord niet bij de aanbieding ,als je goed kijkt klopt het niet je krijgt maar 2 cd,s.

This is an exceptional LP; I wholeheartedly concur with the general consensus. Tracks like "Moonlight Mile," "Sister Morphine," "Dead Flowers," "I Got the Blues," "Can't You Hear Me Knockin'," and "Sway" truly stand out. The entire album is a masterpiece that only seems to grow in appreciation over the years. I want to delve into one of the most famous tracks, "Brown Sugar." Can there ever be a more politically incorrect hit song? This remarkable rock anthem showcases a complex blend of themes such as racism, sadism, sexism, violence, and cruelty. The lyrics are delivered with clarity, yet they are mixed in a way that ensures they don’t fully reveal their darker meanings all at once. Moreover, the craftsmanship of the words is so fluid and literate that many listeners may not immediately grasp the severity of what they’re hearing. The song offers an exhilarating narrative from the perspective of an individual involved in the slave trade—a "slaver" who transported slaves to market. In contrast, Randy Newman's "Sail Away," which explores a similar theme, comes across as considerably safer and more explicit. This observation underscores my broader point about the Rolling Stones. As we remember their legacy today, the spotlight tends to focus on the sheer brilliance of their music, the iconic status of Mick Jagger as a singer and performer, and the outstanding musicianship of Keith Richards and Charlie Watts. Their enduring presence in the music industry, along with their provocative image associated with sexuality, satanism, and the "bad boy" archetype, often overshadows another pivotal aspect: they were also among the most astute satirists in the realm of rock music. Their earlier work, particularly from the Andrew Loog Oldham era, is rife with biting sarcasm and social commentary. The Stones tackled the same societal issues as Bob Dylan but delivered their messages with far more humor and irony. Similar to Randy Newman, Ray Davies, and Warren Zevon, they frequently adopted the personas of obnoxious, loathsome, or even dangerous characters to convey their themes. They ingeniously gave these morally ambiguous figures enough rope to metaphorically hang themselves, illustrating the complexities of human nature and power dynamics. "Brown Sugar" epitomizes this approach, pushing the boundaries of satire to their absolute limits. The song unapologetically forces the listener to confront and, in a sense, identify with the dark, hedonistic pleasures experienced by someone wielding absolute power—the "whip-hand." It is a brilliant piece of art that is both frightening and rife with devilish irony. This intricate layer of the Rolling Stones’ artistry is often overlooked or insufficiently acknowledged by both critics and fans alike, yet it is a vital aspect of what makes their work so compelling and thought-provoking.