Pages tagged “rolling stones”

Stones collaboration limp and lifeless

This project was a great idea. Unfortunately, the idea is where the greatness ended. Who wouldn’t be thrilled at the prospect of getting the classic Stones guitar duo of Mick Taylor and Keith Richards—the team that shelled out searing riffs by the pound on Let It Bleed, Sticky Fingers and Exile On Main Street)—back together to record with The Mamas & the Papas’ John Phillips? Add to the mix Mick Jagger producing and singing backup, Ron Wood on bass, Michelle Phillips guesting on vocals, Traffic’s percussionist, and pianist Jean Roussel, and top it off with a big budget from Atlantic Records and the blessing of Ahmet Ertegun. How could this go wrong? Well, it was 1977. And the album turned into a lifeless, drug-addled mess. The general coked- and smacked-out madness of this era—and the way it demented arguably great artists into thinking the material they were working on at the moment was actually good—is sad and even a bit scary. These original album mixes are mid-rangey and thin-sounding, and while I know Keith Richards often looks like a walking corpse, he’s rarely sounded this much like one. Most everyone on Pussycat appears to be playing it safe—there’s not the slightest hint of the cajones that fuel the best Stones material; instead, Phillips’ record is mired in syrupy strings, overdone choirs and hokey, sentimental songs. While there’s the occasional redeeming guitar solo, the bright spots are overwhelmed by Pussycat’s obnoxiously lazy rhymes and excruciatingly vacuous disco clunkers. It’s easy to see why Mick and Keith eventually walked away and Atlantic pulled the plug.

So, who's more gangsta: the Rolling Stones or Lil Wayne? Before you answer, consider the cinematic drug busts, the pacesetting debauchery, and the career-negating legal pimp slaps that the Stones and their handlers have laid down over the years. As Mick Jagger once sang, "Don't play with me, 'cos you're playing with fire."

Giving corporate rock the ‘Fingers'

Writer Steven Kurutz rides alongside Glen Carroll, the Mick Jagger of Sticky Fingers, a Rolling Stones tribute band, to questionable gigs all over America. Band mates and girlfriend/managers come and go. Gigs are poorly attended. Carroll passes out onstage at a casino and is arrested after a show at a frat house. His enthusiasm for playing rock ‘n’ roll is unfazed.

Kurutz has a revelation at a ‘real’ Stones concert at Fenway Park. He buys a $163 ticket “in the nosebleeds” and witnesses the world’s greatest R&R band on the biggest, most expensive stage set ever built … but can only see it on a JumboTron screen. The Stones are isolated from fans and press. Kurutz is watching a franchise, not a rock show.

Success for Glen Carroll, on the other hand, means playing with reckless abandon to a basement full of drunken, sweaty kids. Which is the ‘real’ rock ’n’ roll?

Martin Scorsese's Shine a Light recently hit theaters. What is your favorite concert film? [1147 votes total] The Last Waltz (316): 28% U2 3D (172): 15% Stop Making Sense (191): 17% Gimme Shelter (69): 6% Sign o' the Times (16): 1% The Song Remains the Same (43): 4% Rust Never Sleeps (49): 4% The Kids are Alright (83): 7% The Grateful Dead Movie (38): 3% Other (170): 15% Full Results Comments

In an ever-expanding quest to reach every demographic—including infants—the Rolling Stones have gotten hip to "teh intarwebz" and are asking fans to submit "burning questions" to their newly established Living Legends YouTube channel.

Why, oh why, would the Rolling Stones decide to get into the whole "YouGeneration" thing now? It might have something to do with a certain Martin Scorsese-directed rock doc that was released last week. But we like to think that the Stones were inspired by this guy. How could you not be?

Oh, the choices! Thanks to over four decades of built-up curiosity, naturally there are already a number of, er, interesting submissions from a rambling super fan and his dog, a spinning South African, stoned teenagers, and a bitter, bitter "amateur karaoke singer." (Aren't all karaoke singers amateurs?)

Remember, the Stones only want you to ask them the "burning questions," so please, don't end up like the not-so-inquisitive people featured above. In fact, we'll make it easy for you. Here's a list of a few "burning questions" you can ask the Stones:

1. Is there a second, phantom singer on "Sweet Virginia"?
2. Did Keith Richards really get his blood filtered in Switzerland?
3. Did guitarist Ron Wood botch a chance to join the Rolling Stones in 1969 after missing a phone call from the band?
4. Is "Angie" really written about David Bowie's ex-wife, Angela Bowie?
5. Speaking of Angela Bowie, did she ever walk in on Mick and David in bed?
6. Mick Jagger, are you my father?

In other Stones-related news, the band has rejected offers from EMI to extend their contract. This is a huge blow for EMI (the label recently made major cutbacks), as the Stones will be taking their back catalogue with them. Rivals Sony, Universal, Warner and concert promoter Live Nation (which recently poached Jay-Z from Universal) are all reportedly in talks with the group. For the release of the Shine a Light live album, the band opted to release the record through Universal.

Related links:
Paste review: Shine a Light
RollingStones.com
ShineALightMovie.com
YouTube: Living Legends Channel

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Release Date: April 4
Director: Martin Scorsese
Cinematographer: Robert Richardson
Starring: Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood
Studio/Run Time: Paramount Vantage, 120 mins.

Martin Scorsese gets his ya-ya's out

To paraphrase what the late Douglas Adams once wrote about highway bypasses, you’ve got to make Rolling Stones documentaries. Everyone knows that. And anybody wanting to try will be stepping to weighty company: the Maysles brothers’ apocalyptic Altamont chronicle Gimme Shelter (1970), where a man is beaten to death with a pool cue; Jean-Luc Godard’s accidental prequel Sympathy For the Devil/One Plus One (1968), filled with lush in-studio shots of the Stones creating the film’s title song; Robert Frank’s debauched and unreleasable Cocksucker Blues (1972), where the band jams a soundtrack to a roadie/groupie mini-orgy on its private jet. And let no fan of cinema forget Julien Temple & co.’s IMAX spectacular At the Max (1991), notable for being really, really big.

Enter Martin Scorsese, who is onscreen from the first moments of Shine a Light, suited and gesticulating in urgent, vérité black-and-white. While we get snippets of the Stones offstage in various international locales, city names flashing importantly, Scorsese plays the part of monomaniacal director. It’s a hopefully intentional caricature. As he winds up to the October 2006 show, the Stones feel almost like incidental characters.

“That’s normal movie stuff, is it?” drummer Charlie Watts offers dryly at the banks of lights being set up in Manhattan’s Beacon Theater. In a scene that recalls A Hard Day’s Night, the band goes through a series of meet-and-greets with Bill and Hillary Clinton. Grizzled Ronnie Wood meets matronly Dorothy Rodham. Hilarity briefly ensues.

“Hello Mr. Clinton, I’m Bushed,” Keith Richards cracks to Watts during a break in the endless photo op, atavistic schoolboy insolence kicking in. But sometimes benefits for ex-presidents (cheap seats: literally $60,000) require a little hand-shaking, and the Stones are happy to play the game—especially because it ensures them the ability to remake the Beacon’s stage, adding catwalks and stocking the well-spaced front row with attractive people.

The band hits with “Jumpin’ Jack Flash,” and Scorsese’s sympathies are obvious. The Stones get total coverage—which is to say that there are cameras on Jagger, Richards, Wood and Watts. If they happen to pick up bassist Daryl Jones, the backing vocalists, horn section (led by longtime saxophonist Bobby Keys, once credited as “TV Repairman” with Richards in Cocksucker Blues for their actions on a hotel balcony) or acoustic stunt guitarist Blondie Chaplin, so be it. Indeed, when Richards has a moment with Keys during “Live With Me,” the cameras are all trained on Jagger, grinding with special guest Christina Aguilera. Where David Byrne and Jonathan Demme cloaked roadies in black in reference to Japanese Noh theater for Stop Making Sense, Scorsese simply edits them out.

Pulling from what Jagger calls their “medium-known” songs, the Stones rely more on charisma than musicianship to sell a set without many greatest hits. Musically, the songs occasionally stretch Jagger’s credibility, his scatting during “Shattered" helplessly recalling Jack Black, his balladeering diminished to overarticulation during “As Tears Go By.” Jack White emerges for a joyful “Loving Cup,” growling along with Jagger.

They’re still Stones songs, though, and carry a certain weight for that alone. When the over-40-year-old band finally gets to the hits and Jagger prances familiarly in from the theater’s rear during the introduction to “Sympathy For the Devil,” the continuum becomes obvious: the London dandies performing this song for Godard’s camera, in front of pool-cue-wielding Hell’s Angels on a Northern California motor speedway and, now, at a party attended by international heads of state.

Besides the occasional and quite welcome newsreel flashback, Shine a Light has no architecture or ambition besides being a late-period concert film. Only after the music begins does one realize how entertaining Scorsese’s presence was, and how—besides himself—he has nothing at all to offer his well-filmed subjects. He barely even tries.

Just as the Stones use their own magnetism as a conceit to cloak musical inadequacies, Scorsese uses the notion of the silver screen to cloak his. Shine a Light is worth seeing in a movie theater, because it’s cool to see the Stones in a movie theater. After that, it’ll just feel like another shark-jumping concert DVD. Hopefully there’ll be some cool bonus features.

Dick Clement and Ian La Frenais, writers of last year’s Beatles-inspired musical Across the Universe, are working on a new animated film. This time, though, they’re setting their sights on the music of another legendary 60’s rock band – the Rolling Stones.

The film, titled Ruby Tuesday, tells the story of a single mother searching for happiness in New York City. Clement and La Franais finished writing songs for the film well before the Writers Guild of America strike began last November, though plans to start production on the film next month have been put on hold until the writers return to work.

Like most animated films, the duo said that Ruby Tuesday would probably take several years to complete. The film will feature a “pretty hip” style of CGI animation, and will be made in Paris, La Frenais told MovieWeb.com. While the film will not be rated R, he said that it will not be marketed toward children. “Obviously, this is not just a kiddy film,” he said. “You can’t do the Stones and think it will just be for kids.”

Stones’ frontman Mick Jagger signed on to produce the film back in 2006, and 12 of the band’s songs will be featured in the project. Brothers Paul and Gaëtan Brizzi (Walt Disney’s Enchanted and Fantasia 2000) are slated to direct.

Shout out to The Playlist for the tip!

Related links:
Paste: Rolling Stones Documentary Shine A Light
RollingStones.com
IMDB: Across the Universe

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Sometimes, 40 Licks just isn't enough.

But fear not. With a catalogue of nearly that many albums, the Rolling Stones understand. The legendary (read: "sexagenarian") rockers have prepared yet another one, this time in the form of the soundtrack to the Martin Scorsese live-performance film Shine A Light. However, the March record, their first since 2005's A Bigger Bang, isn't being put out by EMI/Virgin, the Stones' label of 16 years. Universal Music Group will take EMI's place in the Stones' hearts with a one-album deal.

Of course, Mick, Keith & Co. aren't the only high-profile acts to leap from the sinking ship that's been EMI of late. Radiohead and Paul McCartney have moved to other recording ventures following EMI's announcement of "elimination of significant duplications within the group to simplify processes and reduce waste" - in other words, the layoff of 2,000 employees.

The Stones' move, whether temporary or not, is taking place during this, their 46th year in music. It raises questions. (Significant ones, and not the first questions this collection of frighteningly wiry gentlemen has inspired...). Will their previous label, EMI/Virgin, still claiming ties to the Stones, continue putting out the Stones' post-1971 material (a catalogue of 14 studio albums)? Jagger and the guys own the rights to all their post-'71 material, while Universal already owns their stuff from '63-'70.

Whatever the answers, this latest release caps off a discography that would make most musicians cover their faces in shame or pass out from exhaustion. They've reached audiences of every demographic, even, as Paste reported in August, infants. No one has a wider reach or skinnier jeans, and no label can mess with that.

Shine A Light, originally slated to come out in March, hits theaters and IMAX on April 4, and chronicles a New York Stones performance in 2006 featuring guest stars Christina Aguilera, Buddy Guy and Jack White.

Related links:
RollingStones.com
ShineALightMovie.com
Paste: Rolling Stones' Ron Wood releases autobiography

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There’s the sultry one, the pensive one, and the scary one. But what about Ron Wood? Why doesn’t the Rolling Stones guitarist get his own demeaning, reductive adjective?

The release of Ronnie: The Autobiography may change all that. Wood writes about playing in the Jeff Beck Group and the Faces as well as with the Stones, so perhaps he should be the promiscuous one? Further evidence comes in the form of stories about his dalliances with Patti Harrison (ex-wife of George) and former Canadian First Lady Margaret Trudeau. In addition to these wanton tales, the book features the drama and drug use many have come to expect from the Rolling Stones.

Wood told Billboard.com about how many memories came “flooding back” while he was writing the book. So much so, that “There’s already a book two kind of ticking over on the back burner if I wanted to do that.” Maybe the guitarist will end up being known as the prolific one.

Related links:
RonnieWood.com
RollingStones.com
The Rolling Stones on MySpace

Got news tips for Paste? Email news@pastemagazine.com.

If you've watched any kids' programming on TV lately, you'll realize it's infinitely more irritating than the classics we grew up watching. And unless you want High School Musical tunes permanently embedded in your skull, you should take action.

Rockabye Baby!--known for its lullaby renditions of artists that define every generation--is adding a Rolling Stones album to its collection. Diapered bottoms everywhere (the infant kind) can happily bounce along to Stones-inspired glockenspiels September 11.

Their roster of baby tunes already includes music from the Beatles, Led Zeppelin, Tool, U2 and The Ramones. And look at that gosh darn cover! Adorbs.

The track listing:

1. Start Me Up
2. Mother's Little Helper
3. Paint It Black
4. Brown Sugar
5. Angie
6. Wild Horses
7. (I Can't Get No) Satisfaction
8. Under My Thumb
9. Ruby Tuesday
10. Time Is On My Side
11. Let's Spend The Night Together
12. You Can't Always Get What You Want

Related links:
RockabyeBabyMusic.com
Paste review: Stoned
An Inconvenient Groove: Artists take over the globe for Live Earth

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Could the Rolling Stones truly be calling it quits after this Saturday’s gig at London’s O2 Arena, the final stop on a world tour that began in June? Fizzing out amidst mild, blogospheric hearsay based on the “unnamed source” of an undetermined original source? Without fanfare and double-amped ticket prices? Without any of the members actually dying on stage beforehand?

Probably not, but the rumors are building up bit by bit like moss on non-rolling stone, you know, kind of how proverbial small plants might accumulate on the band if...well, you get it.

Either way, somebody's going around saying the following: "We've been told this will be the last tour. Embarking on a Stones world tour takes years to plan. Mick and Keith would be in their late 60s by the time they would be ready to rock once more."

This is confusing. If they'd be ready to rock, what's the problem? An unanswerable question at this point, because a source is a source, of course, of course, and no one can talk to a source, of course. Since he or she is being all mysterious.

It should be noted that Australia is fa-reaking out.

Related links:
The Daily Mail: "Could this be the last time?"
RollingStones.com
Rolling Stones MySpace

Got news tips for Paste? Email news@pastemagazine.com.

The long awaited Rolling Stones concert documentary by Martin Scorsese, Shine a Light, is being held back until sometime in April 2008 according to Paramount Classics, the film's distributor. The film is a composite of two concerts last year, with guest performances by Buddy Guy, Jack White, Christina Aguilera and, judging from The Last Waltz, many others.

This announcement comes as a bit of a surprise, as the film was slated for a release little more than a month from now on September 21, which is a pretty late time to pull a date that's been set for ages. Paramount Classics cites the lack of an adequate marketing campaign as the reason for the delay, which is maybe an understatement. At the point of this writing, pretty much nothing at all has been released about the film since its initial one-sheet press release. No pictures, no trailer, nothing.

Still, The Last Waltz took about two years, so by that calendar we're still doing pretty good.

Related links:
ShineALightMovie.com
RollingStones.com
Paste's 100 Best Living Songwriters, with the Stones at #13

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The Rolling Stone documentary Rock Files: Truth or Lies will be released on October 17 by Eagle Rock Entertainment. The documentary encapsulates 41 years within the legendary band’s career, from the group’s origin through its 40 Licks tour in 2002. The documentary covers such notorious events in the band’s history as Keith Richards’ 1977 heroin bust, Mick Jagger’s marriage to Bianca Perez Morena in 1971 and the 1967 Redlands Raid with Marianne Faithful.

Complete with rare musical performances, interviews and private-collection photos of band members, Rolling Stones: Under Review 1962 - 1966, will be released Aug. 8.

Musical selections on this 90-minute DVD that surveys the Stones early career include live and studio recordings of “Satisfaction,” “The Last Time,” blues classic “Little Red Rooster” and “Come On.”

The documentary also has reviews, commentary and criticism from former Melody Maker journalist Chris Welch, former NME editor Keith Altham, original Stones member Dick Taylor and many others.

For more information, click here.

See You in 2013

The Stones’ first studio album in eight years arrives with a compelling backstory: drummer Charlie Watts is diagnosed with cancer; Mick and Keef hole up together and—feeling a sense of urgency—come up with the best songs they’ve written since Studio 54 was a going concern. After hearing opener “Rough Justice,” the catchiest rocker since side one of Tattoo You, and the following “Let Me Down Slow,” which is almost as good, every word of it rings true. The Stones really are back!

Well… almost. After the rush of the first two tracks, A Bigger Bang still has 14 songs and 50 minutes to go, and the ideas quickly wear thin. Despite the stories surrounding the recording, the songwriting remains the problem. Once upon a time the Stones wrote songs that sounded great no matter who was singing them; now, worthwhile tunes come pretty hard. Jagger and Richards seem either unwilling or unable to push melodies in an interesting direction; they are content instead to recycle the same few sing-songy progressions in dull numbers like “Rain Fall Down” and “She Saw Me Coming.” By the time they get to “Sweet Neo Con,” an embarrassing political screed that sounds like the work of a teenager who’s just watched Fahrenheit 9/11, they’re not even trying to write proper tunes.

Whatever the record’s merits—the more immediate production, the all-around strong playing, Mick’s improved vocals—most of these songs, unfortunately, just aren’t very good. There’s a happy ending to the story, though: Charlie Watts is fit and working again.

The Rolling Stones can’t get no satisfaction when it comes to album sales. The aging rockers will release a limited edition of their current album, A Bigger Bang, with Virgin Records Nov. 22, which will feature greatly expanded audio and video content.

A Bigger Band (Special Edition) will include an electronic press kit, two new exclusive audio tracks, interviews with band members and film clips of both televised performances and the “Streets of Love” music video.

The previously announced Rolling Stones collection Rarities: 1971-2003 is also being released by Virgin and Starbucks Hear Music Nov. 22.

(Above [L-R] [as if you didn't know]: Mick Jagger and Keith Richards rock Fenway Park.)

Okay, here's the obligatory wisecrack up front: the Rolling Stones have finally played a venue older than they are. For the second time in a row, a Stones tour opened in Boston, this time with two shows at historic Fenway Park. They're the third band accorded the privilege of playing Fenway since rock came back to the Park (Springsteen was the first, followed by Jimmy Buffett last summer), an honor duly noted by both Jagger and Richards (who thanked the Red Sox organization for letting “us rascals” perform on “hallowed ground.”)

It was a typical opening-night show: a misstep here and there, along with the buzz of a tour kickoff. The set—22 songs that took just over two hours to play—was typical opening night fare, too. The band opened and closed with predictable choices, tearing through "Start Me Up" at the get-go and sending the crowd home with a blistering "It's Only Rock and Roll" that found Jagger still sprinting across the stage after a full night of onstage aerobics.

In between, there were a couple left turns. The band turned in a fantastic version of "She's So Cold" which, Jagger noted, they’d only performed onstage once before. Keith Richards pulled out some sweet country rock—accompanied by Ron Wood on pedal steel and Tim Ries on soprano sax—with "The Worst." And in one of the evening's highlights, the Stones paid tribute to Ray Charles with "The Right Time, " featuring an amazing vocal from backup singer Lisa Fischer.

The show also included four songs from the new album, A Bigger Bang. But for the most part, the band drew on the hallowed Stones canon—"Jumpin' Jack Flash," "Honky Tonk Women" and "Brown Sugar" all made appearances.

All this took place, of course, in the context of the kind of concert spectacle at which the Stones excel. The stage for this run is a massive edifice, apparently the largest ever for a rock tour; it's five stories high, with a giant video screen flanked by two towers of reflective metal stripes that also incorporated about 200 audience members. Mid-show, a mini-stage detaches from the main stage and moves the band out into the middle of the crowd for four songs, among them an incendiary "Satisfaction."

At Fenway, Jagger was a lithe, ageless wonder throughout, strutting, skipping , preening, racing around the stage, egging on and cajoling the crowd. Richards, on the other hand, with a smoke dangling from his lips, looked as always like the world's most elegant living corpse. He launched "Jumpin' Jack Flash" with a trademark kick, and was on fire and spinning during "It’s Only Rock and Roll"—but those moments were more the exception than the rule.

The Stones’ tour opener wasn’t quite a grand slam of a show, but it was close; call this one a bases-loaded triple.

The Rolling Stones have announced a Sept. 6 release date for their first album in eight years, A Bigger Bang.

On Aug. 21, everyone's favorite sexagenarians will ONCE AGAIN kick off a Mega World Tour in support of their latest album, complete with overpriced tickets. In addition to 35 dates in the U.S., Mick, Keith and the gang will perform in Mexico, South America, Europe and other exotic locales across the globe.

Hundred bucks says they follow with a pay-per-view concert special and throwaway live album.

(as if we needed to tell you - The Stones [L-R]: Charlie Watts, Keith Richards, Mick Jagger, Ron Wood)

Following a surprise performance on the balcony of the Julliard School, The Rolling Stones announced plans for a world tour during a press event at New York’s Lincoln Center. Set to coincide with the release of a new full-length studio album, the tour will kick off with a 35-date trek across North America with extended plans calling for visits to South America, Mexico, Europe and the Far East before its conclusion.

Spread over a three-month span, the U.S. and Canadian dates have been confirmed with an Aug. 21 start slated for Boston’s Fenway Park. Record holders for both of the two highest-grossing North American tours, the band will hit a wide swath of venues, ranging from stadiums and arenas to theatres and clubs.

Tour Dates:

8/21 – Boston, Mass. – Fenway Park
8/26 – Hartford, Ct. – Rentschler Stadium (U Conn.)
8/28 – Ottawa, Canada – Frank Clair Stadium
8/31 – Detroit, Mich. – Comerica Park
9/3 – Moncton, Canada – Magnetic Hill
9/6 – Minneapolis, Minn. – Xcel Energy Center
9/8 – Milwaukee, Wis. – Bradley Center
9/10 – Chicago, Ill. – Soldier Field
9/15 – E. Rutherford, N.J. – Giants Stadium
9/24 – Columbus, Ohio – Nationwide Arena
9/26 – Toronto, Canada – Rogers Centre
9/28 – Pittsburgh, Pa. – PNC Park
10/01 – Hershey, Pa. – Hersheypark Stadium
10/03 – Washington, D.C. – MCI Center
10/06 – Charlottesville, Va. – Scott Stadium (UVA)
10/10 – Philadelphia, Pa. – Wachovia Center
10/15 – Atlanta, Ga. – Philips Arena
10/17 – Miami, Fla. – American Airlines Arena
10/19 – Tampa, Fla. – St. Pete Times Forum
10/21 – Charlotte, N.C. – Charlotte New Arena
10/28 – Calgary, Canada – Pengrowth Saddledome
10/30 – Seattle, Wash. – Key Arena
11/01 – Portland, Ore. – Rose Garden
11/04 – Anaheim, Calif. – Angel Stadium of Anaheim
11/11 – San Diego, Calif. – Petco Park
11/13 – San Francisco, Calif. – SBC Park
11/20 – Fresno, Calif. – Save Mart Center
11/22 – Salt Lake City, Utah – Delta Center
11/24 – Denver, Colo. – Pepsi Center
11/27 – Phoenix, Ariz. – Glendale Arena
11/29 – Dallas, Texas – American Airlines Center
12/01 – Houston, Texas – Toyota Center

Don’t get me wrong. The Stones are one of my all-time favorite bands. But what’s the point of releasing a double-disc “best of” live album recorded during the band’s latest tour? It’s not that these versions of “Can’t Always Get What You Want,” “Paint It Black” and “Rocks Off” aren’t solid; they’re fine. But they pale in comparison to the album versions and offer nothing new arrangement-wise. Besides, if you want to relive a Stones concert in your living room, you can pop in Get Yer Ya-Ya’s Out! or even Love You Live—both recorded when the band was still making music that mattered.

I’m not saying the Stones should quit touring stadiums, peddling their $150-a-nosebleed-seat tickets—they’ve got to make a living. And, besides, it’s great that fans old and new can still catch a show. But, honestly, since the late ’70s, has the World’s Greatest Rock ’n’ Roll Band recorded anything worth the plastic it was packaged in? To quote ever-so-subtle Guns N’ Roses guitarist Slash, Mick Jagger “should’ve died after Some Girls, when he was still cool.”