Forty Licks is a double compilation album by The Rolling Stones. A 40-year career-spanning retrospective, Forty Licks is notable for being the first retrospective to combine their formative Decca/London era of the 1960s, now licensed by ABKCO Records, with their self-owned post-1970 material, distributed at the time by Virgin/EMI but now distributed by ABKCO's own distributor Universal Music Group. Four new songs are included on the second disc; the album was a commercial success, as it reached No. 2 on both UK & US charts and went on to sell over 7.5 million copies worldwide. Concurrently with the album's release, the Stones embarked on the successful, year-long international Licks Tour, which would result in Live Licks in 2004. In 1970, the Rolling Stones had an acrimonious break-up with their former manager, Allen Klein, their former record label, Decca Records; because of the terms of their former contract, all of their pre-1970 recordings were all under Klein's control, up to and including Let it Bleed, some tracks that made it on Sticky Fingers and Exile on Main Street, as well as outtakes, unreleased recordings, live recordings.
The Stones would form Rolling Stones Records as a result, that gave them control over all of their subsequent recordings. As a result, any career retrospectives tended to be divided into two eras: prior to the split, after the split. Klein's ABKCO Records and Decca Records would continue to release unauthorized greatest-hits records and rarities records, other compilations throughout the 1970s, 1980s, 1990s. Any compilations or retrospectives released by the Rolling Stones after 1970, by any of their distributors or partners were always restricted to material recorded and released from 1971 onward; because of various business deals and mergers of various record companies over time, the barriers to creating a unified retrospective compilation album had been resolved by the early 2000s. Forty Licks has received positive reviews from music critics. AllMusic's Stephen Thomas Erlewine felt that Forty Licks was similar to ELV1S: 30 #1 Hits because both were influenced by The Beatles' 1, but that Forty Licks had a better concept than ELV1S.
Although Rob Brunner's review of the album for Entertainment Weekly was favorable, he felt that the album was not needed because most of the band's fans own all of the notable songs on the album. Darryl Sterdan of Jam! CANOE felt that most fans owned most of the songs on the album and that "Losing My Touch" was the only good unreleased song on the collection. Rob Sheffield of Rolling Stone felt that there were several songs missing from the album, but that the compilation was exciting and the four new songs were much better than their other recent work. Stylus magazine's Colin McElligatt felt that the band needed an "all-inclusive" collection, but the collection will not please everyone. All tracks written except where noted; the Rolling Stones Mick Jagger – lead vocals, percussion, electric piano Brian Jones – guitars, marimba, backing vocals, piano, sitar Keith Richards – guitars, backing vocals, bowed double bass, lead vocals on "Happy" and "Losing My Touch" Mick Taylor – guitars Charlie Watts – drums, backing vocals Ronnie Wood – guitars, backing vocals, bass drum, bass guitar Bill Wyman – bass guitar, bowed double bass, backing vocals Additional musicians
McKinley Morganfield, known professionally as Muddy Waters, was an American blues singer-songwriter and musician, cited as the "father of modern Chicago blues", an important figure on the post-war blues scene. Muddy Waters grew up on Stovall Plantation near Clarksdale, by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson, he was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon; these songs included "Hoochie Coochie Man", "I Just Want to Make Love to You" and "I'm Ready".
In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960. Muddy Waters' influence is incalculable, on blues as well as other American idioms—such as Rock and roll and Rock music. Muddy Waters' birthplace and date are not conclusively known, he stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, he continued to say this in interviews from that point onward; the 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914.
The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915, his grandmother, Della Grant, raised him. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi, he had his first introduction to music in church: "I used to belong to church. I was a good Baptist. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar.
It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown on a plantation owned by Colonel William Howard Stovall. In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled for Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. On he sent me two copies of the pressing and a check for twenty bucks, I carried that record up to the corner and put it on the jukebox. Just played it and played it and said,'I can do it, I can do it.'" Lomax came back in July 1942 to record him again. Both sessions were released by Testament Records as Down on Stovall's Plantation; the complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings.
The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997. In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician, he recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy one of the leading bluesmen in Chicago, had Muddy Waters open his shows in the rowdy clubs where Broonzy played; this gave Muddy Waters the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and formed his first electric combo, he felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues.
Muddy was giving his blues a little pep." Three years in 1946, he recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet and piano. That year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar w
"Mannish Boy" is a blues standard by Muddy Waters. First recorded in 1955, the song is both an arrangement of and an "answer song" to Bo Diddley's "I'm a Man", in turn inspired by Waters' and Willie Dixon's "Hoochie Coochie Man". "Mannish Boy" features a repeating stop-time figure on one chord throughout the song and is credited to Waters, Mel London, Bo Diddley. As "Manish Boy", the song was recorded in Chicago on May 24, 1955, it is the only recording by Muddy Waters between January 1953 and June 1957 that did not feature Little Walter on harmonica and is one of few studio recordings with Junior Wells. Accompanying Muddy Waters are Jimmy Rogers on guitar, Fred Below on drums, an unidentified female chorus. Muddy Waters recorded several versions of "Mannish Boy" during his career. In 1968, he recorded it for the Electric Mud album in Marshall Chess' attempt to attract the rock market. After he left Chess, he recorded it for the 1977 Hard Again album, produced by Johnny Winter. A live version with Winter appears on Muddy "Mississippi" Waters - Live.
Muddy Waters performed it at the Band's farewell concert The Last Waltz, the performance is included in the documentary film of the concert as well as on the film's soundtrack of the same title. The song reached number five during a stay of six weeks in the Billboard R&B chart; the song was Muddy Waters' only chart appearance on the UK Singles Chart, peaking at number 51 in 1988. In 1986, Muddy Waters' original "Mannish Boy" was inducted into the Blues Hall of Fame "Classics of Blues Recordings" category, it was included in the Rock and Roll Hall of Fame's list of the "500 Songs that Shaped Rock and Roll". "Mannish Boy" is ranked number 230 in Rolling Stone magazine's list of the "500 Greatest Songs of All Time"
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
"Harlem Shuffle" is an R&B song written and recorded by the duo Bob & Earl in 1963. In 1986 it was covered by The Rolling Stones on their album Dirty Work; the original single, co-arranged by Barry White and Gene Page, peaked at #44 on the Billboard Hot 100 chart and #36 on the Cash Box chart. The record was a commercial failure when first released in the UK in 1963, but on reissue in 1969 peaked at #7, it was released on a subsidiary of Titan Records. In 2003, the original Bob & Earl version of the song was ranked #23 by the music critics of The Daily Telegraph on their list of the "50 Best Duets Ever"; the song was used in the 2017 Edgar Wright film Baby Driver. The Rolling Stones' cover version, with Bobby Womack on backing vocals, appeared on their 1986 album Dirty Work, went to #5 on the Billboard Hot 100 chart, #13 in the UK. Keith Richards had been looking for songs to include on the album and had been working up songs with Ronnie Wood and Womack while waiting for Jagger to return to the studio in Paris after doing promo work on his solo album.
To Richards' surprise, Jagger cut the vocals quickly. It became the first cover song the Stones had released as an opening single off a new studio album since 1965, it opens with: In 1986, a 12" extended single mix of the song was released. One side contained the "London Mix" and ran 6:19; the other side had a "New York Mix" and ran 6:35. Both mixes were variations of the 7" mix; the "New York Mix" is available on the CD, Rarities 1971–2003, although it has been edited to 5:48. Both full-length 12" versions can be found on Disc 25 of Singles 1971–2006; the Rolling Stones produced an accompanying three-minute music video, which combined live-action and animation. The live-action was directed by famous animation director Ralph Bakshi and the animation was directed by future The Ren & Stimpy Show creator John Kricfalusi. Other animators who worked on the video included Lynne Naylor, Jim Smith, Bob Jaques, Vicky Jenson, Pat Ventura and two other unknown animators; the Rolling Stones Mick Jagger – lead and backing vocals, harmonica Keith Richards – electric and acoustic guitars, backing vocals Ronnie Wood – electric and pedal steel guitar, tenor saxophone, backing vocals Bill Wyman – bass guitar, synthesizer Charlie Watts – drumsAdditional personnel Chuck Leavell – keyboards Ivan Neville – backing vocals, bass guitar, synthesizer Philippe Saisse – keyboards Anton Fig – shakers Dan Collette – trumpet Ian Stewart – piano Marku Ribas – percussion Jimmy Cliff, Don Covay, Beverly D'Angelo, Kirsty MacColl, Dolette McDonald, Janice Pendarvis, Patti Scialfa and Tom Waits – backing vocals 1Remix The song's opening horn section was sampled by American rap group House of Pain for their breakthrough single "Jump Around" in 1992
The Rolling Stones
The Rolling Stones are an English rock band formed in London in 1962. The first stable line-up consisted of bandleader Brian Jones, Mick Jagger, Keith Richards, Bill Wyman, Charlie Watts, Ian Stewart. Stewart was removed from the official line-up in 1963 but continued to work with the band as a contracted musician until his death in 1985; the band's primary songwriters and Richards, assumed leadership after Andrew Loog Oldham became the group's manager. Jones left the band less than a month before his death in 1969, having been replaced by Mick Taylor, who remained until 1974. After Taylor left the band, Ronnie Wood took his place in 1975 and continues on guitar in tandem with Richards. Since Wyman's departure in 1993, Darryl Jones has served as touring bassist; the Stones have not had an official keyboardist since 1963, but have employed several musicians in that role, including Jack Nitzsche, Nicky Hopkins, Billy Preston, Ian McLagan, Chuck Leavell. The Rolling Stones were at the forefront of the British Invasion of bands that became popular in the United States in 1964 and were identified with the youthful and rebellious counterculture of the 1960s.
Rooted in blues and early rock and roll, the band started out playing covers but found more success with their own material. After a short period of experimentation with psychedelic rock in the mid-1960s, the group returned to its "bluesy" roots with Beggars Banquet, which along with its follow-ups Let It Bleed, Sticky Fingers and Exile on Main St. is considered to be the band's best work and is seen as their "Golden Age." It was during this period they were first introduced on stage as "The Greatest Rock and Roll Band in the World."The band continued to release commercially successful albums through the 1970s and early 1980s, including Some Girls and Tattoo You, the two best-sellers in their discography. During the 1980s, the band infighting curtailed their output and they only released two more underperforming albums and did not tour for the rest of the decade, their fortunes changed at the end of the decade, when they released Steel Wheels, promoted by a large stadium and arena tour, the Steel Wheels/Urban Jungle Tour.
Since the 1990s, new material has been less frequent. Despite this, the Rolling Stones continue to be a huge attraction on the live circuit. By 2007, the band had four of the top five highest-grossing concert tours of all time: Voodoo Lounge Tour, Bridges to Babylon Tour, Licks Tour and A Bigger Bang. Musicologist Robert Palmer attributes the endurance of the Rolling Stones to their being "rooted in traditional verities, in rhythm-and-blues and soul music", while "more ephemeral pop fashions have come and gone"; the Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989 and the UK Music Hall of Fame in 2004. Rolling Stone magazine ranked them fourth on the "100 Greatest Artists of All Time" list and their estimated record sales are above 250 million, they have released 23 live albums and numerous compilations. Let It Bleed marked the first of five consecutive No. 1 studio and live albums in the UK. Sticky Fingers was the first of eight consecutive No. 1 studio albums in the US.
In 2008, the band ranked 10th on the Billboard Hot 100 All-Time Top Artists chart. In 2012, the band celebrated its 50th anniversary; the band still continues to release albums to critical acclaim. S. and won a Grammy Award for Best Traditional Blues Album. The band continues to sell out venues, they have been on their No Filter Tour since September, 2017 and will wrap up the tour with a North American leg over Summer 2019. Keith Richards and Mick Jagger became childhood classmates in 1950 in Dartford, Kent; the Jagger family moved to Wilmington, five miles away, in 1954. In the mid-1950s, Jagger formed a garage band with his friend Dick Taylor. Jagger met Richards again on 17 October 1961 on platform two of Dartford railway station; the Chuck Berry and Muddy Waters records. A musical partnership began shortly afterwards. Richards and Taylor met Jagger at his house; the meetings moved to Taylor's house in late 1961 where Alan Etherington and Bob Beckwith joined the trio. In March 1962, the Blues Boys read about the Ealing Jazz Club in Jazz News newspaper, which mentioned Alexis Korner's rhythm and blues band, Blues Incorporated.
The group sent a tape of their best recordings to Korner, favourably impressed. On 7 April, they visited the Ealing Jazz Club where they met the members of Blues Incorporated, who included slide guitarist Brian Jones, keyboardist Ian Stewart and drummer Charlie Watts. After a meeting with Korner and Richards started jamming with the group. Jones, no longer in a band, advertised for bandmates in Jazz Weekly, while Stewart found them a practice space. Soon after, Jagger and Richards left Blues Incorporated to join Jones and Stewart; the first rehearsal included guitarist Geoff Bradford and vocalist Brian Knight, both of whom decided not to join the band. They objected to playing the Chuck Berry and Bo Diddley songs preferred by Jagger and R