News divide themselves in two kinds: the ones you were waiting for, and the others you would have never heard about. I'll let you guess in which group ranks the below ones, taken from the Stones official site (link on the left), where they got posted today. People, it's now official, our drummer is coming back to his first love, thanks to a speedy recovery. Add to this the fact some connected fans reported, in the last hours, that Charlie and Shirley joined Mick and Keith in Paris (but please, note this is less official), where some activities related to next band projects are underway, and you'll have a full figure of how a wonderful day this 29th october 2004 will become in Stones history. Ciao, Chris

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News on Charlie's health

Thanks for all the thoughts, posts, prayers and good wishes. Charlie is making great progress as he continues his speedy recovery. He is looking forward to getting back to work with the band.

Staff

Should the guy who lost his work at Virgin, due to having secured  Mick Jagger the contract for "Goddess In The Doorway", count among my four readers, I want him aware that I'd have never fired him.

Someone will object "Well, that record didn't sell, and this has been the problem". If figures are your thing, I could even agree, but I don't think that, when you deal with such a big shot, you can have only a maths look on the whole affair. Culture matters should still have its part!

Then, someone else will complain about "Goddess" being a fair album. What do you mean a fair? "Well, er... it's not the Stones, it's pop". Here the illness gets finally called by her name, revealing lots of limits in people who speaks these words!

Could someone explain me, please, why a Mick Jagger solo record should sound like the Stones? Do Charlie, or even Ronnie or Keith (who doesn't play jazz, but rock, in personal projects) sounded like the Stones in their various solo adventures,? I don't think so, and I don't recall someone bashing them for playing in their own way.

As for being "Pop", maybe the case is to remember everyone that the Stones are what we know nowadays because, after Brian decline kicked in, Mick and Keith, along with Andrew Oldham, decided to pursue a pop agenda for the band. I think it's too easy to blame someone for having what you ever asked him to be!

And then, after having seen "Being Mick", do you still think our man launched himself in the "Goddess" thing as into a game? Why to expose yourself to producers like the ones you see in the doc, pretending perfectionnism as minimal skill, if you're not more than convinced about your product? Only a poor spirit could consider Mick's latest solo adventure like his spare time hobby, trust me.

To my ears, "Goddess" had a commercial tone, that's its biggest sin. But, considering that Altamont took place some twenty-five years ago, can we really call it a sin? Let's be honest and reckon that it contains some of Mick's best vocal numbers in the last ten years. Honour mention, particularly, goes to "Brand New Set Of Rules". Have you heard it carefully? Probably it's too pop for you (!), but I think in that tune he reaches heights he's not so used with the Stones lately.

The same applies for "Old Habits Die Hard", a number from the upcoming "Alfie" soundtrack (it'll be out on Virgin, mid october), in which his Jaggerness duets with Sheyrl Crow. I heard it thanks to the AOL "First Listen" feature (and finally, majors understood that the net is the first ground to battle piracy!), and have to say the song has a captivating tone, a "not slow, not hurricane" enjoyable pace, and again a full form Mick behind the mike. Futhermore, Mrs. Crow hot voice adds a gentle touch to the overall result.

If you've enjoyed "Goddess" (and, again, isn't "Everybody Getting High" a perfect party anthem?), "Alfie" cd is a must (half of the tracks will be from Mick). If you haven't, don't waste your time in crying "it's not like the Stones" (you won't ever like any of the lads solo, that's a matter of fact). Put "Aftermath" on your lp player and enjoy. At the end, it's true: old habits die hard. Sir Mick, who is usually ahead of his era, told it right once again! Ciao, Chris

Ronnie Scott's, legendary Soho jazz club, has a number of reasons to be considered "magic". First, it's the place that provided Andrew Loog Oldham one of his first employments, as a table waiter. Then, all the people who spent a night there (maybe with Charlie Watts' Tentet on the band stand) will surely understand what I'm referring to.

On 14 June 2001, a couple known figures sneaked their way in the club during Charlie's set. When the band intro came, they were noisy, to say the least. Our favourite drummer soon realized what was going on and, after having rounded the guys on his side, he launched himself in a totally british: "On vocals Mr. Keith Richards and Mr. Ronnie Wood". The audience went crazy and the six strings couple had to rush his way out of the jazz temple, after signing some autographs. A total rock'n'roll moment!

This is Soho, Ladies and Gentlemen. This is not far from where the Stones took off (old Marquee stood just around the corner, in Oxford street). Aside steady bars, neon signs and honky tonk women (mostly asian, nowadays), you can breathe music! Let alone how it could have been in the sixties. Someone at Ronnie Scott's for sure knows, even because this year the club celebrates his 45th anniversary. Among various events, yours truly got today the programme concerning one which filled my heart with joy and hope.

The full document is below, but - to give you a brief idea - tomorrow night will bring the Soho Ball, a black tie event in aid of borough charities, to be held at Le Meridien, in Piccadilly, London. The night, starting off at 7.30pm, will be made of music, but most of all a charity auction will go on. What amazed me is the patrons list: Howard Blake OBE, Peter Boizot MBE, Pete King MBE (Ronnie Scotts), Burt Kwouk, Richard & Wendy Littlejohn and Charlie Watts.

Then, some lines below, I read what follows: "One of the many world-class musicians who has performed with his Big Band at Ronnie Scott’s Club is Rolling Stones’  drummer Charlie Watts who has donated six items, which are being sold as one lot: Autographed 9 ½” b/w photo taken of Charlie Watts in the 1960’s by Harry Goodwin who was photographer for Top of the Pops in the '60's; Rolling Stones Four Flicks 4 x DVD set 2002-2003 – Over 50 songs, and behind the scenes documentary; Rolling Stones Forty Licks, exclusive hardback book 2002-3 includes alternative archive photographs; Ode To A Highflying Bird – Book dedicated to Charlie Parker,written and illustrated by Charlie Watts when he was a graphic designer,as part of his portfolio; Extremely rare "Roll with the Stones in Las Vegas" black T-shirt (large); "Watts at Scott’s" Charlie Watts and the Tentet double CD, recorded live at Ronnie Scott’s in 2001".

Now, let's try to plug-in brain for a moment. If Charlie wasn't recovering properly, would he have the mind to patron such an event (a social one, then)? If he was bad, would he have the spirit to put together items (and not totally common ones) for an auction? No, no and again no! I come from a mountains region, and so 'm not often an optimist, but I can't take this differently than a hint of the fact he's doing better. If I was in England, and in the condition to attend, I wouldn't miss tomorrow night. Not only it's for a good reason, but is to breathe hope our man will brush again drums soon. Soho magic. Ciao, Chris

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Here comes the program...

SOHO BALL -Black tie event in aid of Soho charities - Friday 24th September 2004 at Le Meridien, Piccadilly, London - 7.30pm Champagne reception  - Dance to FABBA and DJ - Casino and auction. Patrons: Howard Blake OBE, Peter Boizot MBE, Pete King MBE (Ronnie Scotts), Burt Kwouk, Richard & Wendy Littlejohn and Charlie Watts.

Below is a list of items to be auctioned on the night. You can bid in person with a Soho Ball ticket (tel:020 7629 2998) or send your bid to cindy@parrotprods.co.uk by 2pm Friday 24 September 2004.

Janet Fitch necklace – Janet Fitch is a lecturer and consultant on jewellery and fashion accessories and writes about jewellery, the crafts and retailing. www.janetfitch.com.
 
Lolita, by Vladimir Nabokov (special edition). G.P. Putnam’s Sons, New York by special arrangement with the Olympia Press 1955. Fifth impression.
 
Christian Furr lithograph entitled Venus. Christian Furr has exhibited extensively around the world as well as in London galleries. The youngest artist to have painted a portrait of the Queen, this year he won the Gold Award of the Association of Colleges  www.christianfurr.com

A great night out: Dinner for two and bottle of house wine at the world-renowned Ronnie Scott’s Club, home to many of the world’s top musicians and singers plus overnight stay at Hazlitt’s Hotel, just up the road in Frith Street (not too far to walk afterwards),
www.hazlittshotel.com
www.ronniescotts.co.uk
 
One of the many world-class musicians who has performed with his Big Band at Ronnie Scott’s Club is Rolling Stones’  drummer Charlie Watts who has donated six items, which are being sold as one lot: Autographed 9 ½” b/w photo taken of Charlie Watts in the 1960’s by Harry Goodwin who was photographer for Top of the Pops in the '60's; Rolling Stones Four Flicks 4 x DVD set 2002-2003 – Over 50 songs, and behind the scenes documentary; Rolling Stones Forty Licks, exclusive hardback book 2002-3 includes alternative archive photographs; Ode To A Highflying Bird – Book dedicated to Charlie Parker,written and illustrated by Charlie Watts when he was a graphic designer,as part of his portfolio; Extremely rare "Roll with the Stones in Las Vegas" black T-shirt (large); "Watts at Scott’s" Charlie Watts and the Tentet double CD, recorded live at Ronnie Scott’s in 2001.
 
Another drummer,  26 years with Genesis, Oscar winner for his music for Walt Disney’s Tarzan and the man who sang for Band Aid on both sides of the Atlantic on the same day -  Phil Collins, has donated this self portrait sketch www.philcollins.com
 
Daz Coates’ oil painting Masquerade – Everybody Dance Now –this is the painting on our Soho Ball poster this year, an abstract that reflects the artist’s experiences and memories of many exotic travels around the world.
 
Limited edition print, La Strada by photographer John Claridge, who has been presented with over 700 awards for his works which are exhibited world-wide - Pure carbon pigment on archival art paper (48cm x 33cm) signed - No 1 of 24
 
Empire State lithograph by photographer John Claridge - Produced in collaboration with The Curwen Studio between 1984 and 1985 - No. 145 of 150  www.claridgewalsheditions.com
 
Carl Smyth aka Chas Smash sings, dances and composes for Madness, will donate a song – he will take winner and partner out to a get-to-know-you lunch, and write the winner their special song  (he gets to keep the royalties, though!)
 
*****************
Tombola £5 per ticket – everyone wins! Items include vouchers for Pizza on the Park, YMing, Zilli and The French House Restaurant; a bottle of Old Malt Cask 50% proof single malt Scotch whisky. Distilled December 1974 at Aberfeldy Distillery, bottled May 2001 donated by Vintage House; videos and CDs from stage hypnotist Paul McKenna; Sherlock Holmes DVD sets from Orbit Media; jazz CDs from Universal Records, a bottle of Port, Soho Ball T-shirts (2002); Perfumes; DVDs; and books 

Cindy Hacker - Tel: 020 7629 2998
cindy@parrotprods.co.uk
www.sohoball.com

See you there.

Well tuned French fan club "Sympathy For The Devils" has put out yesterday a detailed page on the upcoming "Live Licks". It seems that, first, the release date puzzle has been solved. Europe should have it on the shelves on 2nd November, while Japan already on 27th October. No word, so far, about the US issue.

Then, if you'll follow this  http://www.sympathyforthedevils.com/LiveLicks.htm" title="http://www.sympathyforthedevils.com/LiveLicks.htm" target="_blank"http://www.sympathyforthedevi..., you'll be awarded the two covers of this double cd set. Yes, two, because European one will be different than the American. Why?, you'll wonder. Here comes the answer. Front cover theme will be the erotic manga/anime we all saw during the tour on the giant screen, while Honky Tonk Women was performed. The point is here: in a limited run of the EU set, honky hottie riding the red tongue will appear bra-less, in the US she'll wear a black bra, in line with her thong! Both will have a neon style "Rolling Stones Live Licks" writing top left.

I won't point my finger against this difference, nor will get in any discussion about [pretty] morals (Keith would be the first pissed off by this). Perhaps, it's not the first time something of this kind happens. Do you remember Roger Waters' The Pros And Cons Of Hitch-Hiking (1984)? Well, mainly in the US, the blonde naked hitch-hiker had a black tape strip on her back. "Natural" copies, instead, surfaced in Europe. Can we consider it a compensation for not getting the Rock'n'Roll Circus in theatres? Who knows...

This said, I won't add much more. I could discuss if a band who presented the world with Warhol zipper cover can nowadays consider at the height of its standard an erotic manga, but hey more than thirty years passed. Is it really the case to get into that fuss? If we were talking about "No Security", I could agree on any complain, but this maintains a decent level. My thoughts on "Live Licks" have been explained in the past (see the specific august entry). On the French site you'll find also the full set-list. My vote is to be casted for cd n. 2, but people let's admit it: the Stones were so good in this tour, that it will be totally interesting to hear them, all the way. I have, for honesty reasons, to tell these info are unofficial, but I repeat that french fan club always showed good sources and provided reliable news.

Be ready, Licks are on their way! Ciao, Chris

This afternoon, yours truly - apart winning an auction of Oldham Orchestra's "Rarities" lp - took a bit of time to work on a project for the publishing company tied to "Jam" magazine. Basically, they're ready to set out an history of british rock (1960-1969). I had the chance to compile two chapters about the Stones, and now they were missing some biographical profiles, and info relating to lp's to complete it.

So, I wrote short lines on Mick and Keith (does it really needs to be explained who they are?), and bio bits on Giorgio Gomelsky and Allen Klein. It has been less easy than what I thought. About the former I've an exact birth date, and know he's born in russian republic of Georgia, but miss the right place (could be Tblisi, but who knows). On the latter, I experienced troubles again about age. I managed to discover he's born in Newark, NJ, in 1932, but the exact date remains a mistery. May this be the best answer to the ones stating we ALL know about the Stones now!

And then came the lp's. The guys at the office wanted the three ones which, in my opinion, changed the course of things and a brief description for each one. This is the kind of thing that, if you're a total fan, can drive you crazy. You can quite loose your sleep on this one. However, after thinking a while, I hadn't such a big trouble in putting my answer on paper.

First choice fell on Aftermath. We can't do as of nothing: the first album fully signed MJ and KR changed things. Thanks to hormones pumped repeteadly in by Andrew Loog Oldham, the Glimmers started to convince in composing, and this marked the beginning of BJ's decline. Then, not to forget it contains blasting hits like Mother's Little Helper, Under My Thumb and Lady Jane. And, finally, would you find usual Goin' Home: 11 mins, from a band who grew up in the 4 mins format? Simply outstanding!

Second place went to Sticky Fingers. I know someone will think this is an easy choice, and that I should have picked up Let It Bleed. Well, I can agree on the fact an album including Midnight Rambler (the first song in the world where silences count more than music!) is not an everyday's, but to me Sticky (and his zipper Warhol cover) marks the exact moment when the market steered from singles. In 1971, to top charts you needed an lp sparkling from the first to the last song. It's what Sticky does, kicking in with Brown Sugar and fading off with Moonlight Mile, passing through Wild Horses, Sway and Sister Morphine. Would you be really able to think something different?

Last but not least, I picked up (and c'mon, let's be sincere, this is pretty obvious, but deserved) Exile On Main Street. Reasons would take MB of space on this server, so I'll keep it to the basics. First: it's the album which changed everything (MT went defeneatly a solo man, shadowing a bit rhythmic KR). Second: as an italian lover of Dante, the idea of the lads going to the Nellcote inferno and working all night long always charmed me. Third: pump up the volume on your hi-fi and have the whole neighborood listening, with you, to Rocks Off or All Down The Line. Then, on with Sweet Virginia. I'm sure people will knock at your door... praying you to put it again! Fourth: the best tribute to US rock blues, but paid with the class of UK musicians!

Well, that's quite it for me. Obviously, I tried to keep these choices on an objective level, as much as possible. If generational influences would have played a part in this, I think I would have picked up Dirty Work for sure, and possibly Tattoo You. But, how would you convince a book reader (so, a very interested person, and maybe someone who lived the sixties) that Fight or Too Rude are better than Route 66 or Spider And The Fly? But, maybe you could do that better than me. So, time for comments. Here I wanna read your choices for the three groundbreaking albums and your reasons. Don't be lazy, time waits for no one... and it won't wait for you! Ciao, Chris

Well, the list of US theatres where the Rock'n'Roll Circus will be screened on 11th october is displaye on the Rolling Stones official website. It's something like fifty places, and I guess lots of american fans will have one of the nights of their life. Plus, this is to set a milestone in band's history. Don't forget that "Circus", originally intended as a tv show, never got aired, let alone screened in a theatre.

I'm happy for you, guys living on the other side of the Atlantic, and I shout this as sincere as I can be. However, on the other hand, I can't keep myself to remark that, despite adoring a band which moved here its first steps, on this shore of the Ocean we'll get kicked in the back once again. We'll have the DVD and nothing more. No blasting experience on giant screen at all.

It's true that US count among the biggest countries of the world, that numbers are consequently different (both concerning theatres and audience), but I object that Europe is not that little, and has always proved faith in the Stones. This means a market was available for such an operation. Maybe screenings could have happened in less places, or nations, but such a pearl deserved to be shown somewhere, and - in a mandatory way - in the UK, home of the lads.

I know I should keep my mouth shut, due also to the fact I've been lucky enough, in 2001, to attend (in Paris) a rare screening of Ladies And Gentlemen (you should have been there, people clapping hands between songs like at a real show, total goosebumps!), but I can't really make a reason out of this situation.

Don't worry, I won't start with the eternal complain about the "original sin" (pretending europeans angry with the band because we never had  "Satisfaction" on lp, as it happened in the US), but people who planned "Circus" advertising campaign for Maastricht sons would kindly explain me why we don't get the goodies, when we contributed first to make it all happen? Waiting both for an answer, and for reviews and comments by lucky attendees of US screenings. Ciao, Chris

Tonight will bring another diversion from the main dish of this blog. However, being convinced that having Stones set in your minds means you're open to all good music, I'm pretty sure you'll forgive yours truly for taking some of your time not talking about that famous british band born in 1962 (Mick will ever say it's 1963, but I don't care and go on with the only historical truth!).

Altough I never visited it, my mind remains stuck on the fact the west coast (especially LA and Bay areas) has to be blessed, because it provided the world with plenty of good and interesting characters. We're talking people like Reuters celebrities reporter Dean Goodman, Stones collector Chris Malewski, fast food restaurants manager Marlyn Skiles and, last but not least (drums rolling & trumpets ringing), guitarist Scott Henderson.

For the second year, yours truly had the chance to be onstage between acts in a three-nights blues fest happ ening in this strange town called Aosta. Everyone, to please you, will call you a host. Bullshit, you're nothing more than a filler, but - let's admit it frankly - even if you feel you're speaking only to roadies unloading the stage, it's a fun and, most of all, it awarded me the chance to get Scott live and to know him personally.

Musically speaking, I'm ready to bet you've never seen before someone able to play more notes in a second than him. I'm already hearing someone, from the back of the room, shouting "Hey, man, and Eric Sardinas?... and Yingwie Malmsteen?... and Steve Vai?". Silence, people, please. I'm not meaning one of these frigid "twelve songs in three minutes" numbers, which will leave you with nothing but the same headache you experienced last time you walked off a dentist chair. It's heart that I pretend when I pay for a concert, and Scott, coming from jazz and blues, has and shows and industrial dose of it. Furthermore, he's able to do such a range of things with a guitar, that it wouldn't surprise me if he had his Fender cooking an hamburger for him!

On the human side, hats off for the man who spoke the best quote I ever heard on being an artist: "I feel lucky to do this work at 50. At the same age, in a bank, they would kick you out". Note it down somewhere, and read it (possibly loud) every morning, before (or after) your jogging. That's a life lesson. Because the truth, altough many people will die while trying to demonstrate the opposite, is that artists are people like you and me. The only probable difference is that they receive less letters from the bank and that they have someone queing for them at the post office, when time comes to pay light and gas bills. Someone telling you he plays thanks to the hand of God, or something like that, is fooling you (or at least, attempting to do that)! So, once again, Scott scores and many others no.

I spoke about all this tonight, because european fans will have an unique opportunity to catch him live in the next months. Mr. Henderson, in fact, will be on guitar for some dates of Joe Zawinul's Syndicate. They'll play Greece (if you've not been there for the Olympics, that's the time to board that plane!), Austria and Italy. Full line-up for those gigs includes (obviously, apart him and Joe Zawinul): Linley Marthe (Bass), Sabine Kabongo (Vocal), Arto Tuncboyacian (Percussion), Karim Ziad (Drums). Please, don't cry if you'll miss Kirk Covington (who's a texan wrestler usually on drums with Scott), I can understand your disease, but this is a great opportunity too. So, let's make our man happy once again to be a guitarist (and what a!), buy that ticket (this is the http://www.bluenotemilano.com/templates/show.asp?artist=The" title="http://www.bluenotemilano.com/templates/show.asp?artist=The" target="_blank"http://www.bluenotemilano.com...+Zawinul+Syndicate&sh owdate=05%2F10%2F2004& ;showhour=21%2E00&M=6 |0&month=10&year= 2004 for the club they'll play in Milano, the mighty "Blue Note"), go there and enjoy! Plus, don't dare leaving the venue without one of his albums under your arm, or he'll call his Fender to spank you. Be warned! Ciao, Chris

Folks, usually I'm not scared by the idea to talk a bit, but tonight - after I saw this http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&" title="http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&" target="_blank"http://cgi.ebay.com/ws/eBayIS...;rd=1&item=4035439996  - I told myself turth really trepassed fiction this time.

I already expressed my thoughts on a certain Ebay trend days ago and, now, after learning that, in someone's idea, a Let It Bleed mono copy (complete with original poster) is worth a car (yeah, a used one, but it's always a car you can get for 2.100 GBP), I can't keep myself from going a bit further.

To the people who bid for more than 300 GBP on this item, please get a life. Defeneatly and seriously (and, to be completely sincere, I'd neither bet that the promotional booklet was included in the first pressings... I would think it has been distributed aside the record). Are we all getting mad in here? Or should I start to think that an owner of the mighty "Promotional Album" has the right to ask a villa on the Riviera in trade of it? Your take would be appreciated. Ciao, Chris

Yesterday we spoke about the first time members of The Stones, The Beatles and The Who stepped on the same stage. It happened on 10-12th december 1968, in London's Intertel tv studios, for the Rock'n'Roll Circus.

As I already said in my previous entry, this idea (beware, I'm talking of the project and not of the DVD to be released shortly by Abkco, which is welcome) never completely convinced yours truly.

The fact people like Pink Floyd were starting to explore new paths, with mass madness gatherings in venues like the UFO club, shouldn't have brought bands coming from the Mississippi to the Extravaganza, even if just temporarily. If anyone has his work, I don't think The Beatles and The Stones properly did theirs with the Rock'n'Roll Circus.

Anyways, I'm not gonna carry this topic on forever. I spoke again about this happening, because there has been another moment, in rock history, when people from Stones, Who and Beatles played together, but sadly got less echo. It happened on 11th and 12th march 1985, at London's Fulham Town Hall.

The father of this all-star gathering has been Stones bassist, Bill Wyman. In november 1984 he got together a group of well known musicians to record an album, to help the Ronnie Lane Appeal for A.R.M.S.. The band was called Willie and The Poor Boys, and the year after, along with more additional guests, they went live.

The line-up of those nights of wonder included Bill Wyman, Andy Fairweather-Low, Charlie Watts, Mickey Gee, Geraint Watkins, Ronnie Wood, Kenney Jones, Mel Collins, Chris Rea, Terry Taylor, Raf Ravenscroft, Henry Spinetti and Ringo Starr (as "Janitor"). Our heros showed their talent with evergreens like You Never Can Tell (by Chuck Berry), Chicken Shack Boogie and Baby Please Don't Go.

A video of the concert was released in june, the same year. I dusted off this moment because thanks to Bill's lucky meeting with Classic Pictures (www.classicpictures.co.uk), Willie And The Poor Boy has just been released on DVD. The show is already a good reason for a motivated buying, but you'll pleased to hear that Mr. Wyman shuffled his infinite video vault and offered the company, to insert it as a bonus on the DVD, an unseen before 30 minutes doc on the "making of" Willie.

Needless to mention, like all previous Classic Pictures releases (they already did Rhythm Kings' Let The Good Times Roll and Muddy Waters/Buddy Guy's Montreux 1974), this disc comes in 5.1 Dolby Digital, 5.1 Dts, or Dolby Stereo.

To end, I still have to tell why I like Willie more than the R'n'R Circus. Well, the reasons are at least four. First: it hasn't nothing to see with Extravaganza (which is sometimes a nice word to mean you've run out of ideas); Second: it's the event which gave, someway, birth to the Rhythm Kings (a band I couldn't do without, but we'll discuss this in a future entry), having Wyman, Taylor, Fairweather- Low and Spinetti already on the same bill; Third: blues and roots a go-go; Fourth: as Bill puts it about this concert: "everyone went in to have a really good time". Look at Circus starring characters faces (especially Brian), and tell me if you're naturally led to think the same. Ciao, Chris

Have you enjoyed "Good Morning Vietnam"? Are you addicted to that vinyl smell, spreading out each Nick Hornsby's "High Fidelity" page? Mixes among odd characters (like De Vito and Gov. Arnold in "Twins") are your bread? Would you ban fom FM everything different from four fourth and trepassing 80 bpm?

Folks, if so, this week-end will bring you something unmissable. Ladies and gentlemen, many of you are probably still wondering where is he living nowadays, and the answer is "on a satellite". Yeah, Andrew Loog Oldham turned a dj, for Sirius digi tal network, home of the "Underground Garage" channel.

Rolling Stones' dad should be enough of a warranty about the stuff on the setlist. Anyways, may you need another good reason to tune in, be aware that ALO's partner in crime is no one else than E Street Band and Soprano cast member Little Steven. Yes, it's him, the rock troops supreme commander, constantly mumbling under his bandana how to play popsters another bad trick, during his critically acclaimed syndicate radio show "Underground Garage" (http://www.littlestevensunder...).

Saturday 11 and Sunday 12, the show will go on, both days, at 3 pm, NY Time. First of all, browse to this site (www.sirius.com). You'll learn that, in order to listen, you should have a subscription. However, you'll find also a link to activate a three days free pass. It's as quick as fluttering your eyes: provide a valid e-mail and you'll get a password within seconds. Your Sirius experience will be then question of selecting the righ channel (#20 on the preset selection) and buffering the streaming, nothing more.

Expect good times, rhythmed by the finest music around, and lots of cool vibes. Andrew and Steven are perfect in their role, behind a mike. Plus, they know their thing well enough to provide thrilling moments. Not to forget the former wrote, in 1963, the storyboard followed by each band in the last forty years, while the latter is used to share stage with rock icon Bruce Springsteen. Isn't it enough to try receiving that satellite signal? Ciao, Chris

In the sixties, rock'n'roll glory days, it made a lot of noise. Many of the bands which were conquering the world gathering together to give fans some extravaganza and nothing else but music. You'll have guessed we're talking about the Rock'n'Roll Circus, which is close to a DVD release (during october), thanks to Abkco.

Personally, I think I still have to clear my mind about this event. I never loved mixing identities too much, and to see the Stones and the Beatles on the same stage, always caused me a bit of itch. Anyways, the Circus allowed us to be treated with one of Pete Townshend best quotes ever. Legend wants that, after having seen Yoko Ono on the show, Who axe man commented "I've to tell that, even on women, Stones are superior to the Fab Four".

Aside funny sides, altough its golden aura, lots of shadows surrounded this footage. Originally intended for tv, it never went broadcasted. Why? No official answer ever came. Abkco released it, a first time, on vhs in the mid-nineties. Why some shot footage wasn't included in that issue? Who knows. What seems sure is that this time things should change. The dish will be richer, and this is never a bad thing, especially when we're dealing with Stones.

So, waiting to have the real thing in our hands, please enjoy the official press statement for the upcoming DVD release. You'll learn what, when and where, and maybe you'll be able to find some answers to the beyond questions. Once again, who knows. Ciao, Chris

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ROCK HISTORY UNDER THE BIG TOP: ORIGINAL ROLLING STONES LINEUP, THE WHO, JOHN LENNON, ERIC CLAPTON. JETHRO TULL, TAJ MAHAL, MARIANNE FAITHFULL, YOKO ONO, BONUS FEATURES, EXTRAS

STONES’ ‘CIRCUS’ FINALLY SET TO ROLL ON DVD

ABKCO Records will release the legendary Rolling Stones Rock and Roll Circus for the first time on DVD October 12th. Filmed before a live audience at Intertel VTR Services Limited, a North London TV studio in 1968, Rock and Roll Circus was originally conceived as a BBC TV special but it never aired. Rock and Roll Circus was directed by Michael Lindsay-Hogg and centers on the original line up of the Rolling Stones – Mick Jagger, Keith Richards, Brian Jones, Bill Wyman and Charlie Watts (with Nicky Hopkins and Rocky Dijon) who serve as both the show’s hosts and featured attraction. The “World’s Greatest Rock and Roll Band” is seen and heard performing six Stones classics-to-be: “Jumping Jack Flash,” “Parachute Woman,” “No Expectations,” “You Can’t Always Get What You Want,” “Sympathy For The Devil” and “Salt of The Earth.”

The program also includes full length musical performances by The Who, Jethro Tull, Taj Mahal, Marianne Faithful, Yoko Ono as well as The Dirty Mac, a group that was the first musical context in which John Lennon performed before an audience outside The Beatles. The Dirty Mac was Eric Clapton (lead guitar), The Rolling Stones’ own Keith Richards (bass) and Mitch Mitchell of the Jimi Hendrix Experience (drums) with Lennon on guitar and vocals. A mirthful conversation between Jagger and Lennon to introduce The Dirty Mac finds them referring to each other as “Winston” and “Michael” with Jagger affecting a convincingly flat American accent and Lennon referring to himself as “Winston Leg-Thigh.”

The main program, first issued on video in 1995, runs 65 minutes. ABKCO’s new DVD version includes numerous additional bonus elements with the main program now remixed in 5.1 surround sound. The source for the DVD is a new digital transfer from the original 16mm negatives.

Newly recorded audio commentaries by Jagger, Richards and Wyman as well as Ono, Jethro Tull’s Ian Anderson, Faithfull, Mahal, Lindsay-Hogg and Anthony B. Richmond who was director of photography on Rock and Roll Circus are included. Additional commentary from journalist David Dalton who covered the original December 11-12, 1968 filming for Rolling Stone plus original audience member David Stark who was 13 years old at the time of the Rock and Roll Circus sessions. Heretofore unseen footage from the two marathon days and nights of shooting include a backstage encounter between Jagger, Lennon and Ono and a previously unseen alternate take four screen version (“quad split”) of Dirty Mac’s performance of the Beatles “Yer Blues” are among the many extra features. Three additional Taj Mahal songs from the original session plus a 2004 on-screen interview with The Who’s Pete Townshend are included. Footage of various circus performances, a still photo gallery and two classical performances by Julius Katchen are DVD extras as is the Fat Boy Slim remix of “Sympathy For The Devil.”

Michael Lindsay-Hogg is the pioneering music video director behind The Beatles’ Let It Be feature film and many of the Rolling Stones’ seminal video clips. During the course of his more than 40 year career, he has directed specials for Simon and Garfunkel, Neil Young, Paul Simon and The Who and was director of the “Brideshead Revisited” TV series. Tony Richmond is the veteran cinematographer whose feature film credits include “The Kids Are Alright,” featuring The Who; “The Man Who Fell To Earth,” starring David Bowie and Jean Luc Goddard’s “Sympathy For The Devil” that ABKCO released on DVD last year.

Rock and Roll Circus was produced for DVD by the same ABKCO team that produced the Grammy ® winning Sam Cooke: Legend. Suggested retail list price for The Rolling Stones Rock and Roll Circus DVD is $19.98.

The Rolling Stones Rock and Roll Circus (main program, performances)

1. Song For Jeffrey – Jethro Tull
2. A Quick One While He’s Away – The Who
3. Something Better – Marianne Faithfull
4. Ain’t That A Lot of Love – Taj Mahal
5. Yer Blues – The Dirty Mac
6. Whole Lotta Yoko – Yoko Ono & Ivry Gitlis with The Dirty Mac Band
7. Jumping Jack Flash – Rolling Stones
8. Parachute Woman – Rolling Stones
9. No Expectations – Rolling Stones
10. Sympathy For The Devil – Rolling Stones
11. Salt Of The Earth – Rolling Stones

DVD extras include

Checkin’ Up On My Baby – Taj Mahal
Corina – Taj Mahal
Leavin’ Trunk – Taj Mahal
Ritual Fire Dance – Julius Katchen
Sonata In C, First Movement – Julius Katchen
Yer Blues (alternate version) – The Dirty Mac
Backstage footage – Mick Jagger, John Lennon, Yoko Ono
Sympathy For The Devil – Fat Boy Slim Remix
Interview - Pete Townshend
Still photo gallery

Audio commentaries:
Mick Jagger
Ian Anderson
Taj Mahal
Yoko Ono
Bill Wyman
Keith Richards
Michael Lindsey-Hogg
Anthony B. Richmond
Marianne Faithful
David Stark
David Dalton

Thanks to a Californian Stones (and Elvis) addicted, who decided to put huge parts of his collection up for auction, an Italian collector is now sitting on what can be considered really close to a treasure. As we all know, Rolling Stones lp had monaural issues ’til the end of the sixties. In the UK the last red label pressing on Decca has been Let It Bleed (1969), while in the US (on London) mono days ended even before, because Let It Bleed and Hot Rocks were out only as stereo albums. Despite what was released for general circulation, though, monaural pressings continued for some years, concerning promotional versions of albums (intended for radios, dj’s and journalists). Most sought, among these “special” issues, has always been Sticky Fingers. With its white label and a “monaural promotional copy” sticker on the front cover, it fetched more than 800$ in recent auctions. Collectors community always thought this record to be the last Stones album ever pressed in mono. The auction ended this week proved everyone wrong. In fact, a monaural and promotional copy of Jamming With Edward (1972) was put on sale. The existence of this lp (white label and with a sticker similar to the Sticky Fingers one) changed the whole perspective for Stones connaisseurs. In fact, nobody ever doubted about its existence, nor it ever appeared in any collectors book (like “Not Fade Away”). About its rating, I can only tell the Italian buyer has been almost lucky. 425$ for such a piece are a reasonable price. The ones willing to see the masterpiece, can click on this http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&" title="http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&" target="_blank"http://cgi.ebay.com/ws/eBayIS...;item=3837188657 where the auction will remain for the next three months. Folks, that’s why collecting keeps you young. When you think to know it all, something happens and proves you wrong. Beautiful, beautiful, beautiful. Ciao, Chris

Today, with less than twenty days separating us from the supposed release date of "Live Licks", yours truly woke up his head containing more doubts than brain. Well, how is it possible that - with only two weeks to go - we still haven’t seen/heard a spot, read a press launch or remarked an advanced copy for sale on Ebay? These have always been, and will always be, signals of a new Stones release, and their current (total) absence sounded, to me, like a slip from the September 24^th deadline. As a famous italian politician once stated, "to think bad it’s a sin... but usually you guess it right, that way", and neither the Stones can be exempted. So, I e-mailed Virgin Italy my doubts and the answer has been "you’re right. For sure it’ll be pulled, but the new date is yet unknown". Actually, more than "Live Licks" it seems we’re dealing with "Pulled Licks". Don’t look here for the reasons of the delay. I don’t need to know them (gossip usually leaves me cold), I just want to know if and when we’ll get this new record (on which I already expressed my thoughts, see entry in august). However, stay tuned for updates on this matter (i.e., the new release date). Ciao, Chris

Ladies and Gents, yours truly is back home. Holidays are over, and dirty work can now start again. This means regular schedule, from now on, will apply for this blog. Anyways, hope you enjoyed the Ronnie updates which have been offered meanwhile. Look to this space for further, because the two old chaps will be performing again together in future (NYC and then London in october). Now hour is late, and some sleep is needed, but I couldn't separate from you without leaving a late night suggestion. Hope you'll forgive me for "hijacking" the blog a bit from the Stones, but good music lovers will understand what this is all about. After years of silence, Roger Waters (yeah, former Pink Floyd bassist) released on his website (www.rogerwaters.com) two new tracks. Titles are "Leaving Beirut" and "To Kill The Children". They'll be available for free for a limited period. I highly suggest a listen. Lyrics can be found on the site and are pretty self-explanatory. Our "political" Roger is back, and with dramatic Belsen images still in our minds, "To Kill The Children" sounds dramatically actual. If you're an old PF fan you'll love them (atmospheres are kinda "Amused To Death"). If you're not in that "pink pig" british band, give it a try (and read an official statement about the tracks following this http://www.brain-damage.co.uk/news/0409032.html" title="http://www.brain-damage.co.uk/news/0409032.html" target="_blank"http://www.brain-damage.co.uk...). Anyways, listen and comment here. Buona notte a tutti, Chris

Yours truly, sometimes, enjoys Ronnie Wood more as a painter, than as a guitarist. Call me dumb, or whatever you do feel more close to your personal tastes when it comes to rubbish, but I think his paiting have more an emotional impact than his music (sometimes). So, it didn't make strange at all that, while in the Bay Area (remember his gig with Rod Stewart... see entry below), Ronnie did a showing of his paintings in a San Francisco gallery, opened by an "exclusive" reception in his presence. I had the chance to attend this kind of event, when Licks rolled over Milan, and I learnt that gallery owners are really curious people (this, to avoid an offensive word). The more you're ignorant about the artist, the more you'll have a chance to meet him. Wendy E. Mullen was one of the invited guests, and her report - written especially for this blog (will I have ever enough words to thank you, Wem?) - partly confirms this. I thought Italy was the problem, but I see that - as we do say here - "the whole world is the same country". Please, enjoy Wendy's review and thank her ideally by visiting her Ronnie Wood page, linked on the left. Ciao, Chris.

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At 7 pm a crowd was gathering on Geary Street in San Franciso in anticipation of the exclusive invitation-only reception for Ronnie Wood. The trouble was it wasn't very exclusive and everyone in the bay area seemed to have an invitation.  The gallery let us all enter a few minutes late and by 7:30 there were easily 200 people in the gallery--maybe more.  And it was hot in there (one of the painting was actually getting condensation on the inside of the glass).  My friend (and recording engineer) Scott and I wandered around looking at all the art we'd seen earlier in the day, drinking cheap wine from a plastic glass.  The  anticipation abated a little when I re-met Glimmer Laura Hull.  We chatted on and off throughout the evening  (Scott was a bit in shock when he learned that Laura had seen at least 3 times as many Licks shows as I had and had actually traveled to Europe.)

Jim Hartley, owner of the gallery, was in his element and enjoying the crowd.  He told us ronnie would come in an hour and to give him space or he'd get scared and leave.  After another long while of waiting, we felt the crowd was thinning out. . .but actually, half of the people were out on the sidewalk in the cool of the evening.

At 8:45, a long black limousine pulled up and Ronnie clambered out and into the gallery. . .Ronnie came in to cheers from the crowd.  He was in high spirits, and knew he was headed straight upstairs.  People fell back and only a couple of folks were bold enough to try to shake his hand.  A small covey of VIPs followed him (maybe 5), a body guard remained at the foot of the stairs. He seemed to know who was allowed up and who wasn't.

Ronnie remained upstairs a really long time before popping down.  He was immediately swarmed.  People were 3 deep circling him and demanding his attention.  This had the effect of making me fall back towards the wall. Ronnie was in Hyper Drive--full speed ahead on auto-pilot and bent of pleasing.  He smiled, and preened and grabbed some lucky woman and dragged her from painting to painting pointing things out, completely ignoring the dozens of people trying to listen in (or worse, cut the woman out of her place).  She didn't quite know how to handle this, and it seemed to me that he could have bestowed this honor on a more grateful object.

Twice he was coming right towards me and at the last second someone would literally commandeer him in a different direction. Cameras (strictly prohibited) were flashing non-stop and Ronnie mugged and kissed and hugged obligingly.  He put up with all of this maybe ten minutes, then he ducked under people and into the back again. 

He repeated this once again before going upstairs again.  He was hiding out in a back room up there somewhere. 

At 10:45, he dashed down the stairs holding a young brunette's hand, and followed by 4 or 5 of the VIPs, and pushed through the crowd, chatting, and smiling, but definitely leaving.  Instead of climbing into the limo still double-parked outside, he went across the street and into the ACT theatre. Someone said Marianne Faithful was there (I have no idea if that's true).  

Ronnie looked happy, healthy, wirey, thin.  This man sparkles--he certainly lit up the gallery.

Lately, talk about Ronnie Wood got cheap, due to many reasons. I won't go further in this, because I already told you all what I felt the need to (see my previous entry). However, our man in this year did a lot of live activity. He crossed his axe with many people, like Stereophonics, but the much awaited night was with his former Faces mate Rod "The Mod" Stewart. For you all, here is a review of their gig in Hollywood (August 29th), compiled by "SlideOnRon" Yahoo Group proud moderator and remarkable guitarist and singer Wendy E. Mullen. Enjoy this one-night dive in the era when they were "London's First Pride", Chris

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Danny, Craig, & I were all at the show last night with our spouses. . . Danny & I got there to have dinner at the rooftop grill inside the venue at 5:30.  To my utter delight, as we entered the restaurant, I heard a familiar guitar floating our way, and went over to the edge of the open air  estaurant.  And as I leaned over the edge of the rail, there on the stage just a little ways away was Ronnie and the band.  No Rod, but he appeared shortly and wandered in and out.  It was a rehearsal more than a sound check and lasted over 45 minutes.  Every Picture Tells a Story, Ooh La La with Ronnie singing!!  I'd Rather Go Blind, You Wear It Well, and I'm Losing You.  No one was really singing, so I was free to listen and watch Ronnie.
 
He was bouncing around, happy and healthy.  Clearly psyched for the evning's show.  Leah, you would have killed for his boots, which he ditched before the show.  Cool white cowboy boots.  They held the crowd outside the venue until the sound check was over.  Thank you Danny for suggesting this restaurant!!  It was quite the unexpected treat.
 
Rod started the show, of course, for about 30 minutes without Ronnie. After about 2 songs, I grew bored.  But that's me. Craig can tell you his wife's reaction.  I think Rod is rather repulsive--he's so sure that he's still sexy, and he . . .just . . .isn't.  Ugh.  The constrast with his 3 dressed-to-kill black female back-up singers only served to make Rod look absurd.  His vocal range is okay, but his power is gone.  
 
I felt for most of the show that I was out of place, evesdropping on some cult I wasn't a member of.  I was subtly declaring my allegiance by wearing my Ronnie-drawn Voodoo Keith t-shirt.  Most of the crowd was old and dressed up.  We Stones fans stood out.  There was the occasional loud call for "RONNIE!!" When he appeared with the black Zemaitis and launched a powerful "Stay With Me" I felt more at home.  Ronnie loves that song--Rod's vocals were a little lackluster.  It was the shortest version I'd ever heard Ronnie play, but it was fun watching him cue the band for all those tempi changes.  
 
You Wear It Well was next.  A crowd pleaser, but not a Ronnie-stand-out song.  But when he opened "I'm Losing You". . . .well, wow!!  Ronnie blasted that intro, out front, and nailing it.  It was soooooooooo cool.  Again, Rod's vocals were fine but not powerful. . .the song went into a drum solo and lost its fire there, and ended almost immediately afterwards.  "I'd Rather Go Blind" was a Ronnie spotlight song.  His solo was beautiful.  The strat sound, round and full.  I forgot, "Every Picture Tells A Story" was second.  I was interested to note that the band resorted to eight measures between the verses (on the album it's a weird 7 or 9). . .
 
After these songs, Ronnie disappeared, and Rod did more nostalgic sing-along with the audience.  There's clearly something I don't know about football and the Celtics, and Rod kicked a dozen balls into the audience, which I assumed was his usual thing. Then  short intermission during which Craig's wife and I blew each other away. She said, "don't you just love Rod?  Doesn't he have a great ass?"  And clearly she doesn't think much of Ronnie, who to my mind and eye and ear brought a new level of energy to the stage.  And of course, you all know I find him irresitible to watch and listen to.  I was especially pleased to see how healthy and happy he was.  Full of fine spirits and ready to sing in the mic when Rod asked.  Rod tried to get Ronnie to put his arm around him once when Ronnie was playing,so Ronnie could not oblige.
 
After intermission, Rod brought the orchestra on.  Everyone was dressed in black classical outfits with Rod in a tux.  An additional six members of the band were there.  The singers were now in white gowns, the two guitarists had tuxes.  Rod started (I think) with Casablanca's . . .As Time Goes By.  I left and went wandering around outside the venue for 4 or 5 songs.
 
I came back for Maggie May, which as Craig said, segwayed (sp) into Gasoline Alley and back.  Ronnie had a couple of short Ronnie solos.  The finale was "twisting the night away" a non-descript free for all.  The encore was Ooh La La.  Ronnie, bless him, still doesn't know  how to handle a vocal mic.  He was doing his best though, and he went for all the high notes. . .which is when he drew back from the mic so that they were lost.  Still, it was lovely to watch him, and hear him.  He's doing great.
 
Mac McLagan was there for Maggie May.  I had just spotted him when Ronnie snuck over in his sneaky and was pointing at him and making sure the audience saw who it was, at which point Rod pointed to him too.  Mac came back for Ooh La La.  But in neither song did he have a solo.  Nor did Rod introduce him until the very very last as he was saying good bye, he said, something like"  Thank you!  Ronnie Wood!!  Ian MacLagan!"  And that was it.