Sticky Fingers came at a time when—on record, at least—the Rolling Stones could do no wrong. They were called the World's Greatest Rock'n'Roll Band for entirely too long, but if that designation ever applied, it was here. Their music grew darker and more cynical, just like the times. At one of their shows, the Altamont Speedway Free Festival, held just as the '60s came to a close, a group of Hell's Angels, possibly enlisted as security, killed a man, and the event, along with the Charles Manson murders four months earlier, have long been held up as the symbolic end of the peace-and-love '60s. Seen in retrospect, the Stones were a Zelig-like band for a while there, somewhere in the mix whenever there was a cultural shift underway.
Donald "Duck" Dunn
Otis Redding - The Definitive Studio Album Collection | Rhino
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The Complete Studio Albums Collection
Art by Nathan Moya-Mendez. Even labors of love come at the significant cost of time. This is the result of hundreds of hours of labor. Three editors and dozens of contributors attempting to capture the spirit of the old weird Internet.
In practice this results in a pseudo-greatest-hits survey of the Ensemble's catalogue to-date, touching on highlights from all three releases while emphasizing the group's strength as versatile mood-conjurors. It suggests the possibility of an expanding sonic universe for the collective, as these collaged compositions shade closer to a more explicitly hip-hop oriented pallet mostly hinted at elsewhere in the catalogue. Fittingly, the rest of the runtime plays like a set from a well-appointed hip-hop producer's crate; flattening the distances between proto-prog slap, sensuous soul flute and Brazilian AOR influenced pockets into a cohesive whole.