Oasis - Goin' Mobile
Friday, 27th February 2009, Munich
Champagne Supernova (Almost Complete)
Don't Look Back In Anger (Edited) - in West Coast folk-rock style

Hey, just a proof that I've been there...shooting from the bar. Had great view, the stage was quite low, and I think the band felt close too. I received my new touch-screen mobile just hours before the concert - no time to learn how to handle it right. I filmed in low-rez and I didn't even zoom. Fortunately the others were filming in better quality. I surely dug my soul out but picked these "modern classics" because of the quality - had to re-work "Champagne Supernova" though!

Afterwards we went to the Hard Rock Café and then to the shitty aftershow party in a club. Wimmen and drunken adolescents, one of 'em offered me bro 5€ for a cig, and the fool raised his offer and wanted to give 10€ when he refused. He gave him one - of course for free. I couldn't stand that place; I became hoarse thru boozin' and by being forced to speak loud all night, so I left three o'clock in the morning.

Saturday I had lunch in the sunshine at an ancient place close to the "Englische Garten" park with melting snow, mud, and posh people, young and old around me. It was served by the most beautiful girl I've ever seen in Munich (really!); there are lots of wimmen in Munich who are thinking that they are the most beautiful in Munich. You're sooo wrong! She's a teen or in her early twenties and a part-time waitress. Though I'm quite good with words I'm not able to describe her. But I could easily draw her, her face, her smile, her eyes and brown hair. She was very kind and only formal to be polite. I paid 57€ with 2,10€ tip. I should've keep that bill with her name printed on it...Coretta

Anyway, memories arise to fade...
And who the fukk cares, the sun or the moon?!

In the evening, after 4 hours of driving, I watched the show where Oasis performed "Outta Time" as a full play-back. It's the most popular show on German telly and is successful since more than 20 years, watched by 9,7 million viewers this time. The host (a rock fan) admitted that he tried to get Oasis on his show since many, many years and how happy he was that they finally made it. That's a big compliment coz he had the likes of Paul McCartney, Michael Jackson and all sorts of Hollywood stars repeatedly.

Small talk after the performance...

Thomas (the host):
"Jennifer Aniston wanted to see you desperately"
She had to go early

Liam (the singer):
"We all are desperate"

AMEN!

March 2, 2009
Noel's "Tales From The Middle Of Nowhere"

That TV show was massive. 2,000 people in the audience! TWO THOUSAND!! That's mental. We were on with Grazia superstar Jennifer Aniston, Owen Wilson, Duffy and the world's favourite German, Boris Becker!! Not sure how it all went, it was all in German, see? Apparently Rachel lost a bet and had to eat a doggy biscuit! There was also a kid on there who could tell the difference between certain kinds of football boots by licking them!? Ant and Dec, eat your little Geordie hearts out. Who said entertainment is dead? It's alive and well and living in Germany. Rachel legged it before we could get a good look at her. Owen Wilson had a beer and a chat though. Nice lad. He actually talks like that talk he's got in real life.

But for me, the highlight of the day was the return of Mr al-Fayed's shoes! BANG! They just appeared out of nowhere, attacking the senses, blinding my eyes. I thought they'd gone home in disgrace - not a fuckin' chance. And they're following us to the airport as we speak. We're on the way to Zurich.

Switzerland? The oddest of all nations?
Think about it.

In a bit.
GD.

You gotta see Oasis live!!!

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Imagine - 32bit Audio Remaster
Imagine - MFSL UDCD-759 24-Karat Gold Disc
16:9 Clip 6000kBit/s / MP3@320 48000Hz
December, 2008

"You swine, you swine! How dare you do this to a Rolls-Royce."

You all heard this song a zillion times, hence you all will notice the difference right away.
Beneath the icing there's anger at the state of the world and tension in this song - and now you can hear it!

I love how he crushes the notes into his piano and how it's wandering around from the mid to the left and right channel. It sounds so purposeful now!
The drums and the bass are prominent and the strings sound rather like an old romantic movie than kitsch.

Imagine, the drums are the oppressed who are passing John's window by on their way to the barricades where they are gathering at night. The strings are their torches that light up the sky, the piano and bass are his doubtful pounding heart.
So uncertain, should he follow them or stay with
his wife...

White is a tone, the perception which is evoked by light that stimulates all three types of color sensitive cone cells in the human eye in near equal amount and with high brightness compared to the surroundings. Since the impression of white is obtained by three summations of light intensity across the visible spectrum, the number of combinations of light wavelengths that produce the sensation of white is practically infinite.

White light reflected off objects can be seen when no part of the light spectrum is reflected significantly more than others and the reflecting material has a degree of diffusion. This is seen when transparent fibers, particles, or droplets are in a transparent matrix of a substantially different refractive index. Examples include classic "white" substances such as sugar, foam, pure sand or snow, cotton, clouds, and milk.

It's my favourite colour...

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Honky Tonk Women BBC 1969 - Live Vocals
32bit Audio Remaster, December 2008
16:9 Clip 6000kBit/s / MP3@320 48000Hz

This seems to be a special backing track. A different mix with a shorter outtro and more nuances than the hit single - now audible!

I wrote Honky Tonk Women as a straight Hank Williams-Jimmie Rodgers sort of number. Later, when we were fooling around with it trying to make it sound funkier, we hit on the sound we had on the single. We all thought, Wow, this has got to be a hit single. And it was, and it did fantastically well. It's the sort of song that transcends all tastes.
Keith Richards, 1969

Keith and I were on this holiday in Brazil once and we sang it all the way through the holiday.
Mick Jagger, 2003

I definitely added something to Honky Tonk Women, but it was more or less complete by the time I arrived and did my overdubs. They had already laid down the backing track, but it was very rough and incomplete. I added some guitars to it, but I didn't play the riffs that start it - that's Keith playing. I played the country kind of influence on the rock licks between the verses.
Mick Taylor, 1979

We've never played an intro to Honky Tonk Women live the way it is on the record. That's Jimmy Miller playing the cowbell and either he comes in wrong or I come in wrong - but Keith comes in right, which makes the whole thing right. It's one of those things that musicologists could sit around analyzing for years. It's actually a mistake, but from my point of view, it works.
Charlie Watts, 2003

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Paradise City - 32bit Audio Remaster
Appetite For Destruction
MFSL UDCD-748 24-Karat Gold Disc
16:9 Clip 6000kBit/s / MP3@320 48000Hz
December, 2008

Throw yer clothes at yer rock star...

Howz Interscope's winter 2008 reissue?!
I completely remastered Appetite For Destruction and GN'R Lies EP, both from gold discs.

THIS CLIP MIGHT BE BLOCKED IN SOME COUNTRIES AND ON THE MOON!!!

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Sweet Child O' Mine - 32bit Audio Remaster & Edit
Appetite For Destruction
MFSL UDCD-748 24-Karat Gold Disc
16:9 Clip 6000kBit/s / MP3@320 48000Hz
December, 2008

The audio track is not taken from the "Welcome To The Videos" DVD coz that sounds like the band woz playing in Notre Dame Paris and they've placed the mics on the white cliffs of Dover to record 'em - d'you know what I mean?
Reverb and more reverb plus reverb even on the drums (!), they sound blunt and very distant. I tried also the MFSL UDCD-699 of Appetite for a remaster but the drums are so loud - it's really annoying. They seem to know only extremes. Even after the treamtment it's louder than Izzy's guitar and Duff's bass. If you want to learn the drum parts of Sweet Chile then it'd be something for you, otherwise you should save yer money.

I used Appetite For Destruction MFSL UDCD-748 from the original master recording. There was lot of noise left but still a very nice source, so I adopted it.
I recently saw MFSL gold discs by Cream and Pink Floyd, 339,99€ and 424,99€ asked for the latter.

The begining with Izzy's dog and the film crew chatter is from the original clip audio track, after the countdown "beebs" and a moment of silence my remaster starts. It's the album audio track minus two guitar parts edited by me, almost the way they did - figure it out. I didn't kill anything but now you can hear details, details, details. Izzy's guitar jingles and jangles in the background and Slash's guitar solo sounds mega sharp and very poisonous during the "where do we go?!" bridge.

I hope you guys like it and that you hit the "play" botton till it hurts coz you can't buy this in stores and simply forget that Pirate Bay remaster.
Enjoy!!!

"Her green eyes let me drown in sighs..."
Levi

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Angie 1972 Demo - Rough Mix Without Reverb & 2nd Keyboard Overdub
25th - 30th November & 6th - 21st December, 1972
Dynamic Sound Studios, Kingston, Jamaica
16:9 Clip 6000kBit/s / MP3@320 48000Hz

Mick Jagger - Vocals
Keith Richards & Mick Taylor - Acoustic Guitars
Charlie Watts - Drums
Bill Wyman - Bass

Nicky Hopkins - Piano
Nicky Harrison - Arrangement For Strings
Unknown Musicians - Strings
Jimmy Miller - Producer
Andy Johns - Chief Engineer

I wanted the look of a sketch and a painting for the clip - yer PC is not broken!
Needless to say, THIS IS BETTER THAN THE ALBUM VERSION!!!

It's for you know who...

ANGIE
(Jagger / Richards)

Angie, Angie
When will those dark clouds all disappear?
Angie, Angie
Where will it lead us from here?

With no loving in our souls and
no money in our coats
You can't say we're satisfied
But Angie, Angie
You can't say we never tried

Angie, you're beautiful, yes
But ain't it time we said goodbye?
Angie, I still love you
Remember all those nights we cried

All the dreams we held so close
seemed to all go up in smoke
Let me whisper in your ear
Angie, Angie
Where will it lead us from here?

Oh Angie, don't you weep, all your kisses
still taste sweet
I hate that sadness in your eyes
But Angie, Angie
Ain't it time we said goodbye? Yeah

But Angie, I still love you baby
Everywhere I look I see your eyes
There ain't a woman that comes close to you
Come on, baby, dry your eyes

But Angie, Angie
Ain't it good to be alive?
Angie, Angie
They can't say we never tried

NICKY HOPKINS (1944-1994)

Apart from Ian Stewart, if there's one outside artist whose contributions have been the most significant to the Stones' recordings, it's been pianist and keyboardist Nicky Hopkins. Born in London, Hopkins was hanging around the Alexis Korner scene at the same time as the Stones and other musicians. He joined Screaming Lord Sutch's Savages, before winding up as part of the Cyril Davies R&B All-Stars, a short-lived but exciting R&B band. In 1964, Hopkins was then enlisted by groups such as the Who and the Kinks to play on their early albums. By 1967, he had graduated to the
Stones, who employed him for his services first on Between The Buttons, and then more substantially on Their Satanic Majesties Request. It was the beginning of a long and fruitful relationship. Already on the following album, Hopkins was gracing Stones songs like No Expectations with delicate, gorgeous piano playing.

Hopkins remained an integral part of the Stones' albums for all their subsequent albums until Black And Blue in 1976. For most of that period, the Stones used Ian Stewart, Billy Preston and Hopkins on keyboards. Although the roles were by no means non-negotiable, usually Preston was employed on soulful, gospelly numbers where an organ was required, Stu played boogie-woogie on fast rock n' roll numbers, and Hopkins played on the ballads. His playing graced songs like She's A Rainbow, You Got The Silver, Sway, Loving Cup and Time Waits For No One among many others. Hopkins also often played onstage with the Stones for the period from 1968 to 1973, starting with the Stones' Rock And Roll Circus event, and then joining them for the 1970 European tour.

Though the Stones were the peak of Hopkins' career, he played with other artists as well during that span of time, including most notably The Beatles, Jeff Beck, The Jefferson Airplane, Quicksilver Messenger Service, The Steve Miller Band, Carly Simon, Joe Cocker, John Lennon, George Harrison and Ringo Starr. Significantly, he was also a member of the Jeff Beck Group starting in 1968, along with Rod Stewart and Ron Wood, though the group broke up in 1969.
Mick Taylor played on a 1973 Nicky Hopkins solo album.

Hopkins' health problems were the reason for his not wanting to tour with the Stones anymore after the 1973 Australian tour and for the lessening of his work with them in general after 1974. Hopkins did not work on Some Girls. He did work in the late '70s recording with Rod Stewart, Eddie Money, Badfinger, as well as with Bill Wyman. He also appeared as a guest onstage with the Stones at an Anaheim show in 1978, with Bobby Keys.

The Stones rehired Hopkins for parts of Emotional Rescue, and it is likely that some of his playing appears on Tattoo
You (possibly the piano on Waiting On A Friend, which was started in 1972). He also worked on Ron Wood's 1 2 3 4 solo album during that period. That marked the end of Hopkins's association with the Stones, however. Afterwards, he went on to play with artists as varied as Meat Loaf, Julio Iglesias, Belinda Carlisle, Paul McCartney, Graham Parker and Izzy Stradlin. He died of a stomach ailment and heart condition.

(timeisonourside.com)

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Live 1973 soundboard recorded audio in Newcastle, England, 1st Show. Vintage silent footage by fans from the same European Rolling Stones tour.
16:9 Clip 6000kBit/s / MP3@320 48000Hz

Atlantic Records have tried to balls about a bit with this latest album. They've given us a lot of trouble over Starf...er for all the wrong reasons - I mean, they even got down to saying that Steve McQueen would pass an injunction against the song because of the line about him. So we just sent a tape of the song to him and of course he okayed it. It was just a hustle though. Obstacles put in our way.
Keith Richards, 1973

Yeah, Ali McGraw got mad with you for
giving head to Steve McQueen
Yeah, you and me we made a pretty pair
balling through the silver screen
Honey, I'm open to anything,
I don't know where to draw the line
Yeah, I'm making bets that you're going
to get John Wayne before he dies

Yes you are
Ah yeah
Give us a kiss
With a twist
Come on, little girl

A groupie is a woman who seeks sexual and/or emotional intimacy with a celebrity. Groupies are often, but not always, fans of the celebrity they pursue. Female groupies in particular have a long-standing reputation of being available sexually to celebrities, pop stars, rock stars and other public figures. (Wikipedia)

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Jumpin' Jack Flash (For Make-Up Clip)
32bit Mono Dual Channel Remaster, May 2008
Olympic Sound Studios, London, April 1968
First Release As Single In May 1968

This is the original make-up clip with the 1968 special audio track for it. Nowadays the clip has the album/single version as audio track. For the song's sake I hope my clip will outwit that original version in very low quality, which had ca. 220.000 views here at YouTube. Enjoy...

MICKBOY, we luv yer magical ears and hands!

KEEF: Jack Dyer, who was my gardener, an old English yokel. I once said, 'ave you ever been to town? Town, to an Englishman, means London, right? He says, Oh Yea, I was up there when war finished. That cathedral's something. He meant Chichester, the local big town, seven miles away...We'd been up all night and it was in the morning. Suddenly this sound of boots went by the window, clump clump clump and woke Mick up, What was that?! I looked out, that's Jack, that's jumpin' Jack. Well he's leaping about a bit. Yeah, I said, it's "jumpin' Jack" and then "flash" came and suddenly we were wide awake and we started to work, you know. You never know when they're going to come.

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32bit Remaster & Mix, March 2008

I used the "Jimi Pass It On" source for this 32bit remaster.
The two stereo channels are remixed, balanced and high quality cleaned now. Vocals, snare drum and the bass in the mid/end part are more in the background. I dragged all guitars into the light and you can hear even the ride cymbal.
Altogether more details and very close to how it was intended 1970 but it still is rough. I assume if this really was leaked, they've blemished it deliberately.

If you don't like it, make yer own remaster!
Enjoy...

For some time, it has been speculated that Jimi Hendrix played on one more song with Stephen Stills when Stills was recording his self-titled debut album back in 1970. The song "White Nigger" has never been officially released.
Subsequent sightings of the song was always the 1973 version with Manassas, not Hendrix.

Recently, the JPIO collective [Jimi Pass It On] released a nice collection of what may be fan remixes of Hendrix called Silver Blue To Bloody Red Vol. 2 which contained a version of "White Nigger". One fan David offered his thoughts on the Hendrix connection:

"I thought I'd just add a couple of words about the Silver Blue 2 collection...This set has one track which many of us have been looking out for years, and which I never expected to hear - the Stephen Stills song "White Nigger" with Jimi on guitar. I didn't have high hopes for this one - after all, 90 percent of boots claiming to be the Stills/Hendrix sessions are fakes in my experience, and the version of this track which has been circulating for a few years is definitely a 1973 re-recording by Stills with Manassas and has nothing at all to do with Hendrix.

However, the version on Silver Blue 2 sounds like it's the real McCoy! It's a bit of a mess, actually, because it sounds like someone has just transferred all the tracks from the multitrack recording without any attempt at mixing, so it has a couple of Stills lead vocals and a lot of guitar tracks, some of which are Stills himself but many of which are Jimi's. It sounds like Jimi was attempting multiple harmonised guitar overdubs like on a lot of the material he was recording in spring 1970. Basically, it's unmixed and messy, but it's fascinating and - I never expected to say this - I'm 95 percent certain it's the real thing."

David concludes that the track may have been found while Stills was looking inside his vaults for rarities to include in his upcoming boxset.

No guarantee that this is indeed the famed collaboration...Judge for yourself.

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"You Can't Judge A Book By The Cover" presented by Mick's bro Chris Jagger on radio. I dedicate this clip to Mr. Klein's ABKCO.

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Original 1969 demos and 1973 live recording of "Brown Sugar". If you're able to keep your feet still while listening this song, then you have none or you're deaf! Some of the rare pics here of their 1972/73 US & Europe tour were shot by fans! I also used some 1971 Newcastle pics by fans for the demo version. Enjoy!!!

Track 01 BROWN SUGAR (DEMO 1969)
Raw early take that lasts here only 1 minute.
Mick Jagger purrs at the intro!

Track 02 BROWN SUGAR (DEMO 1969)
This is an alternative take with 3 guitar solos. 1st Les Paul / 2nd Telecaster / 3rd Stratocaster (to my ears) and great guitar picking on the right channel. Lots of castanets and no brass section. This mix is ready to press but it didn't hit the shelves of record stores.

Track 03 BROWN SUGAR (LIVE 1973)
This energetic performance was soundboard recorded in Rotterdam and it's my favorite version of this song from their 1973 Pacific/Europe tour. Mick Taylor plays a demonic slide and everybody's on the spot.
Jagger sings "Just like a young BOY should" during the chorus!

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Mick Rock looks through "Exile" and the unique work of fellow photographer, Dominique Tarlé. Dominique made the famous photographs of the Stones, while they recorded and lived in exile in southern France.

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