Continuing the very successful From The Vault series of classic, previously unreleased Rolling Stones live shows this release is taken from their performance at the Tokyo Dome in 1990, one of ten shows from the 14th to the 27th February at the venue which were the culmination of the Steel Wheels World Tour. These were the first concerts The Rolling Stones ever performed in Japan, their previous attempt to tour there in the early seventies having fallen through…
"Rock and a Hard Place" is a song by the Rolling Stones from their 1989 album Steel Wheels. It is the second single from the album, and remains to this day the most recent Billboard top 40 hit by the band…
Encore press release of The Rolling Stones cardboard sleeve reissue series featuring DSD remastering. Part of a 22-album The Rolling Stones cardboard sleeve reissue series featuring the albums "England's Newest Hit Makers," "12 x 5," "The Rolling Stones, Now!" "Out of Our Heads," "Out of Our Heads (UK Version)," "December's Children (And Everybody's)," "Big Hits (High Tide And Green Grass)," "Aftermath," "Aftermath (UK Version)," "Got Live If You Want It!" "Between The Buttons," "Between The Buttons (UK Version)," "Flowers," "Their Satanic Majesties Request," "Beaggars Banquet," "Through The Past, Darkly (Big Hits Vol. 2)," "Let It Bleed," "Get Yer Ya-Ya's Out!" "Hot Rocks 1964-1971," "More Hot Rocks (Big Hits & Fazed Cookies)," "Singles Collection: The London Years," and "Metamporphosis (UK Version)."
"Angie" is a song by the rock band The Rolling Stones, featured on their 1973 album Goats Head Soup…
Rolled Gold: The Very Best of the Rolling Stones is a compilation album by The Rolling Stones released without the band's authorisation by its former label Decca Records in 1975. It is a double album that reached No. 7 on the UK chart and was a strong seller over the years…
Without a doubt, no Rolling Stones album – and, indeed, very few rock albums from any era – split critical opinion as much as the Rolling Stones' psychedelic outing. Many dismiss the record as sub-Sgt. Pepper posturing; others confess, if only in private, to a fascination with the album's inventive arrangements, which incorporated some African rhythms, Mellotrons, and full orchestration. What's clear is that never before or after did the Stones take so many chances in the studio. (Some critics and fans feel that the record has been unfairly undervalued, partly because purists expect the Stones to constantly champion a blues 'n' raunch worldview.)
This album was spawned by three coinciding events – the need to acknowledge the death of band co-founder Brian Jones (whose epitaph graces the inside cover) in July of 1969; the need to get "Honky Tonk Women," then a huge hit single, onto an LP; and to fill the ten-month gap since the release of Beggars Banquet and get an album with built-in appeal into stores ahead of the Stones' first American tour in three years. The fact that the Stones had amassed a sufficient number of hits since their last greatest-hits compilation in early 1966 (Big Hits: High Tide and Green Grass) made this a no-brainer, and its song lineup was as potent at the time as any compilation of hit singles by any artist.