Album Reviews

Thanks to an analogplanet.com reader I got a copy to review of the two LP deluxe edition of Sticky Fingers (Rolling Stones Records 376-484-4).

The packaging is fine, including a real zipper, along with the original inner sleeves. The two records here are very well-pressed at GZ Media in the Czech Republic, though on Amazon there was plenty of bitching about noisy vinyl and even vinyl with glue balls (which strikes me as an appropriate addition to the cover's paper dick).

The first LP reprises the original Rolling Stones Records release. The second record includes on side one a version of "Brown Sugar" with Eric Clapton, an all-acoustic "Wild Horses", an alternate version of "Can't You Hear Me Knocking", an extended version of "Bitch" and an alternative version of "Dead Flowers". Side two contains four live performances from March 14th, 1971 recorded at London's The Roundhouse.

The bonus disc is a "must have" for "completists" only. The "Brown Sugar" with Clapton is okay, the "Wild Horses" not as good as the original, the alternative version of "Can't You Hear Me Knocking" isn't as good as the original either, but by a wider margin. The extended version of "Bitch" rocks pretty well assuming you like that tune in the first place. Best on side one is the alternate version of "Dead Flowers", which sounds as if it was played "live" in the studio. The overall sound on the second disk is blah, made worse by what sounds like mediocre digital reverb.

Since the Roundhouse gig was a tour closer, the band is in fine form though there's nothing particularly illuminating in the performances, nor are most of the mixes anything special sonically. Best is the closer "Honky Tonk Women".

As for the original LP remaster, no one takes credit for the remaster, which is interesting and understandable. I wouldn't want my name on it either, though I'm sure it was Stephen Marcussen, who did similar work on the Exile on Main Street debacle. This one doesn't sound quite as compressed, but when you sit down to listen, the music just seems to float by without creating much of an emotional impact, partly because of the dynamic compression but also because the bass is kind of weak and there's a bit of added edge on top. However, in terms of overall EQ, it's not grossly off the mark.

The Stones fetishists note a slight bit of tape dropout at around 1:18 of "You Gotta Move". It's hardly an issue and if it wasn't pointed out you'd probably not notice it. What you will notice is the overall compression, which results in little in the way of depth and which prevents the music from breathing in its own space. That's why it seems to drift by without carving an impression in your brain. Well at least in mine.

I will say that this reissue met my every expectation: well-packaged and pressed, with little care going into the sound. This should have been cut from tape by someone not interested in a 21st century "revision." I don't know why The Rolling Stones don't give a shit about their legacy on record, but at this point that's the only conclusion I can draw.

When 96/24 files go to guys like Kevin Gray, or Ryan K. Smith or Chris Bellman, they can often obtain good results and it shows someone overseeing production cares. Here, the files were sent via the Internet to GZ Media and "A. Nonymous" cut lacquers. I wonder if anyone actually listened to and approved test pressings.

Draw your own conclusion here:

Here are four short excerpts from "Dead Flowers". One is the original Rolling Stones Records pressing, another is a late '70s/early '80s Japanese pressing, another is the Mobile Fidelity reissue from the 1980's and of course one is from this reissue, but I'm not saying which is which.

Rather than turning this into a voting exercise, just give them a listen and comment on how they sound. Guess which is which if you want. I'll reveal at a later time (not too much later) which is which.

file 1

file 2

file 3

file 4

As for the music (oh yes, the music!), there were some great tracks like "Brown Sugar", "Wild Horses", "Dead Flowers" and especially "Moonlight Mile", some of the rest was less than inspired and overall the record was of a group looking to re-group after ending the previous decade with some of the most powerful records ever made (Beggar's Banquet and Let It Bleed)—not to mention coming off the awfulness of Altamont Speedway ugliness. In retrospect, the extended "Can't You Hear Me Knocking", where The Rolling Stones turn into Santana, was one hot number well worth repeated plays.

Though it was engineered by Glyn and Andy Johns and produced (with affection) by Jimmy Miller, I always though the production on this record lacked depth and atmosphere, though a few tracks, like "Can't You Hear Me Knocking" and "Dead Flowers" came together well.

Overall, this reissue is pretty weak in my opinion and again, I'm left thinking The Rolling Stones don't give a shit about how their catalog gets reissued. As for UMe, it's clear they lavish greater attention on the packaging than on the sound. I'm afraid that The Beatles mono box taught nobody there much of anything.