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Sticky Fingers

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This article is about the Rolling Stones album. For other uses, seeSticky Fingers (disambiguation).

Sticky Fingers
Studio albumby
the Rolling Stones
Released23 April 1971(1971-04-23)
Recorded
  • 22–31 March 1969
  • 2–4 December 1969
  • 17 February – 31 October 1970
Studio
Genre
Length46:25
LabelRolling Stones
ProducerJimmy Miller
The Rolling Stoneschronology
Get Yer Ya-Ya's Out! The Rolling Stones in Concert
(1970) 		Sticky Fingers
(1971) 		Exile on Main St.
(1972)
Spanish issue
SinglesfromSticky Fingers
  1. "Brown Sugar"/"Bitch"
    Released: 16 April 1971
  2. "Wild Horses"/"Sway"
    Released: 12 June 1971

Sticky Fingersis the ninth studio album by the English rock bandthe Rolling Stones.It was released on 23 April 1971 on the Rolling Stones' new label,Rolling Stones Records.The Rolling Stones had been contracted byDecca RecordsandLondon Recordsin the UK and the US since 1963. On this album,Mick Taylormade his second full-length appearance on a Rolling Stones album (after the live albumGet Yer Ya-Ya's Out!). It was the first studio album withoutBrian Jones,who died two years earlier. The original cover artwork, conceived byAndy Warholand photographed and designed by members of his art collective,the Factory,showed a picture of a man in tight jeans, and had a workingzipthat opened to reveal underwear fabric. The cover was expensive to produce and damaged the vinyl record, so the size of the zipper adjustment was made byJohn Koshat ABKCO records. Later re-issues featured just the outer photograph of the jeans.

The album featured a return to basics for the Rolling Stones. The unusual instrumentation introduced several albums prior was absent, with most songs featuring drums, guitar, bass, and percussion as provided by the key members:Mick Jagger(lead vocals, various percussion and rhythm guitar),Keith Richards(guitar and backing vocals),Mick Taylor(guitar),Bill Wyman(bass guitar), andCharlie Watts(drums). Additional contributions were made by long-time Stones collaborators including saxophonistBobby Keysand keyboardistsBilly Preston,Jack Nitzsche,Ian Stewart,andNicky Hopkins.As with the other albums of the Rolling Stones late 1960s/early 1970s period, it was produced byJimmy Miller.

Sticky Fingersis widely considered one of the Rolling Stones' best albums. It was the band's first album to reach number one on both the UK albums and US albums charts, and has since achievedtriple platinumcertification in the US. "Brown Sugar"topped theBillboardHot 100 in 1971.Sticky Fingerswas voted the second best album of the year inThe Village Voice's annualPazz & Jopcritics poll for 1971, based on American critics' votes. The album was inducted into theGrammy Hall of Fameand included inRolling Stonemagazine's "The 500 Greatest Albums of All Time"list.

Background

[edit]

With the end of their Decca/London association at hand, the Rolling Stones were finally free to release their albums (including cover art) as they pleased. However, their departing managerAllen Kleindealt the group a major blow when they discovered that they had inadvertently signed over their entire 1960s American copyrights to Klein and his companyABKCO,which is how all of their material from 1963's "Come On"toGet Yer Ya-Ya's Out! The Rolling Stones in Concerthas since been released solely in America by ABKCO Records.[1]The band later sued for their return but without success, settling in 1984.[2][1]The band would remain incensed with Klein for decades for that act. Klein died in 2009.[2]

When Decca informed the Rolling Stones that they were owed one more single, the band submitted a track called "Cocksucker Blues",[3]correctly assuming that this would be refused. Instead, Decca released the two-year-oldBeggars Banquettrack "Street Fighting Man"while Klein retained dual copyright ownership in conjunction with the Rolling Stones of"Brown Sugar"and"Wild Horses".

Recording

[edit]

Although sessions forSticky Fingersbegan in earnest in March 1970, the Rolling Stones had been recording atMuscle Shoals Sound StudioinAlabamain December 1969, where they cut "You Gotta Move","Brown Sugar"and"Wild Horses"."Sister Morphine",cut duringLet It Bleed's sessions earlier in March of that year, had been held over from that release. Much of the recording forSticky Fingerswas made with theRolling Stones' mobile studioinStargrovesduring the summer and autumn of 1970. Early versions of songs that would eventually appear onExile on Main St.were also rehearsed during these sessions.[4]

Music and lyrics

[edit]

Sticky Fingersoriginally included 10 tracks. The music has been characterised by commentators ashard rock,[5]roots rock[6]androck and roll.[7]According toRolling Stonemagazine, it is "the Stones' mostdownbeat,druggyalbum, with new guitarist Mick Taylor stretching intojazzandcountry".[8]

Artwork

[edit]

Standard version

[edit]
The Rolling Stones posing in an ad with covers ofSticky Fingers,with the original artwork, in 1971. Left to right: Charlie Watts, Mick Taylor, Bill Wyman, Keith Richards, Mick Jagger

The artwork emphasised theinnuendoof theSticky Fingerstitle, showing a close-up of a jeans-clad malecrotchwith the visible outline of a penis. The cover of the original vinylLPfeatured a workingzipperand perforations around the belt buckle that opened to reveal a sub-cover image of whitebriefs.The vinyl release displayed the band's name and album title along the belt; behind the zipper, the underpants were seemingly rubber stamped in gold with the stylised name of American pop artistAndy Warhol,below which read "THIS PHOTOGRAPH MAY NOT BE—ETC." The artwork was conceived by Warhol and the design byCraig Braun.Billy Nameis sometimes accredited as the photographer, however Braum believes Warhol shot the Polaroid photos for the album, and the Factory associates who were involved in the photo shoot have claimed that Warhol took the photos.[9][10]Braun and his team suggested wrapping the album inrolling paper– a concept later used byCheech & ChonginBig Bambu– but Jagger was enthused by Warhol's concept. Warhol duly sent BraunPolaroidpictures of a model in tight jeans.[11]

We manufactured those kind of one-off packages, because a lot of conventional record suppliers were a bit baffled as to how to make them. I'd already done a few of them for bands likeThe Temptations, The Supremes,Joe Cockerand a teen idol namedBobby Sherman,where a band would be selling in sufficient quantities – maybe a million-plus – to have a custom-made sleeve. So when there was a big act like the Stones, you knew the initial release would be a million-plus, and a custom package could be made without costing the label too much of a premium. So the Stones' managers came to me and asked what I could do.

— Craig Braun[12]

The underwear model isGlenn O'Brien,who was the editor of Warhol'sInterviewmagazine, however it's unclear who exactly appears on the cover.[10][13]The cover photo of the crotch was assumed by fans to be Mick Jagger, but people involved in the photo shoot claim Warhol photographed several men (not including Jagger) and never revealed which shots he used. Among the candidates areJed Johnson,Warhol's lover at the time, andWarhol superstarJoe Dallesandro,who claims to have been the model.[14][15][13]Those closest to the shoot, and subsequent design, name Factory make-up artist Corey Tippin as the likeliest candidate.[10][9]

When retailers complained that the zipper damaged the vinyl (from stacked shipments), the zipper was "unzipped" slightly to the middle of the record, where damage would be minimised.[11]

The Rolling Stones'tongue and lips logo,designed byJohn Pascheand modified byCraig Braun,[11]was introduced in 1971.

For the initial vinyl release the album title and band name is smaller and at the top on the American release. For the UK release, the title and band name are in bigger letters and on the left.

The album introduced thetongue and lips logoof Rolling Stones Records, designed byJohn Paschein 1970. Jagger suggested to Pasche that he copy the out-stuck tongue of theHindugoddessKali.Pasche felt that would date the image to the Indian culture craze of the 1960s, but seeing Kali changed his mind. Before the end of that year, his basic version was faxed to Craig Braun byMarshall Chess.The black and white copy was modified by Braun and his team, resulting in the popular red version: the slim one with the two white stripes on the tongue.[11]

Critic Sean Egan wrote: "Without using the Stones' name, it instantly conjures them, or at least Jagger, as well as a certain lasciviousness that is the Stones' own… It quickly and deservedly became the most famous logo in the history of popular music."[16]The tongue and lips design was part of a package that, in 2003,VH1named the "No. 1 Greatest Album Cover" of all time.[17]

Alternative version and covers

[edit]

In Spain, the original cover was censored by theFranco regimeand replaced with a "Can of fingers" cover, designed by John Pasche and Phil Jude,[18]and "Sister Morphine" was replaced by a live version of Chuck Berry's "Let It Rock".[19]This track was later included on the CD compilationRarities 1971–2003in 2005.

In 1992, the LP release of the album in Russia featured a similar treatment as the original cover; but withCyrilliclettering for the band name and album name, a colourised photograph of blue jeans with a zipper, and aSoviet Armyuniform belt buckle that shows ahammer and sickleinscribed in a star. The model appears to be female.[20]

Release and reception

[edit]
Professional ratings
Retrospective reviews
Aggregate scores
SourceRating
Metacritic100/100
(deluxe edition)[21]
Review scores
SourceRating
AllMusic[22]
Christgau's Record GuideA[23]
Encyclopedia of Popular Music[24]
MusicHound Rock4.5/5[25]
NME9/10[26]
Pitchfork10/10[27]
Q[28]
Record Collector[28]
The Rolling Stone Album Guide[29]
Uncut[30]

Sticky Fingerswas released on 23 April 1971[31]and reached number one on theUK Albums Chartin May 1971, remaining there for four weeks before returning at number one for a further week in mid June. In the US, the album hit number one within days of release, and stayed there for four weeks. The album spent a total of 69 weeks on theBillboard200.[32]According toBillboard's Top 200 list, it was one of the albums that topped the German chart that year.

In a contemporary review for theLos Angeles Times,music criticRobert Hilburnsaid that althoughSticky Fingersis one of the best rock albums of the year, it is only "modest" by the Rolling Stones' standards and succeeds on the strength of songs such as "Bitch" and "Dead Flowers", which recall the band's previously uninhibited, furious style.[33]Jon Landau,writing inRolling Stone,felt that it lacks the spirit and spontaneity of the Rolling Stones' previous two albums and, apart from "Moonlight Mile", is full of "forced attempts at style and control" in which the band sounds disinterested, particularly on formally correct songs such as "Brown Sugar".[34]Writing forRolling Stonein 2015, David Fricke called it "an eclectic affirmation of maturing depth" and the band's "sayonara to a messy 1969".[35]In a positive review, Lynn Van Matre of theChicago Tribuneviewed the album as the band "at their raunchy best" and wrote that, although it is "hardly innovative," it is consistent enough to be one of the year's best albums.[36]Writing forSlate,Jack Hamilton praised the album in a retrospective review, stating that it was "one of the greatest albums in rock 'n' roll history."[7]

Sticky Fingerswas voted the second best album of the year inThe Village Voice's annualPazz & Jopcritics poll for 1971.[37]Lester Bangsvoted it number one in the poll and said that it was his most played album of the year.[38]Robert Christgau,the poll's creator, ranked the album 17th on his own year-end list.[39]In a 1975 article forThe Village Voice,Christgau suggested that the release was "triffling with decadence", but might be the Rolling Stones' best album, approached only byExile on Main St.(1972).[40]InChristgau's Record Guide: Rock Albums of the Seventies(1981), he wrote that it reflected how unapologetic the band was after theAltamont Free Concertand that, despite the concession to sincerity with "Wild Horses", songs such as "Can't You Hear Me Knocking" and "I Got the Blues" are as "soulful" as "Good Times",and their cover of" You Gotta Move "is on-par with their previous covers of" Prodigal Son "and"Love in Vain".[23]

Re-releases

[edit]

In 1994,Sticky Fingerswas remastered and reissued byVirgin Records.This remaster was initially released in a Collector's Edition CD, which replicated in miniature many elements of the original vinyl album packaging, including the zipper.Sticky Fingerswas remastered again in 2009 byUniversal Music Enterprisesand in 2011 by Universal Music Enterprises in a Japanese-only SHM-SACDversion; the latter was also used in 2013 for SHM-CD and Platinum SHM-CD, and then again in 2020 for another Japanese-only (standard) SHM-CD version.

In June 2015, the Rolling Stones reissuedSticky Fingersin its 2009 remastering in a variety of formats to coincide with a concert tour, theZip Code Tour.The Deluxe and Super Deluxe versions of the reissue featured previously unreleased bonus material (depending on the format): alternative takes of some songs, live tracks recorded on 14 March 1971 at theRoundhousein London and the complete 13 March 1971 show atLeedsUniversity.It re-entered the UK Albums chart at number 7, extending their UK Top 10 album chart span beyond 51 years and 2 months sincetheir self-titleddebuted at number 7 on 23 April 1964.[41][42][43][44]It also re-entered the US Albums chart at number 5, extending their US Top 10 album chart span beyond 50 years and 6 months since12 x 5on 14 December 1964.[41][42][43][44]

Legacy

[edit]

Sticky Fingerswas ranked number ten in the 1994 first edition ofColin Larkin'sAll Time Top 1000 Albums.He stated, "Dirty rock like this has still to be bettered, and there is still no rival in sight."[45]In a retrospective review,Qmagazine said that the album was "the Stones at their assured, showboating peak... A magic formula of heavy soul, junkie blues and macho rock."[28]NMEwrote that it "captures the Stones bluesy swagger" in a "dark-land where few dare to tread."[26]Record Collectormagazine said that it showcases Jagger and Richards as they "delve even further back to the primitive blues that first inspired them and step up their investigations into another great American form, country."[28]In his review forGoldminemagazine,Dave Thompsonwrote that the album still is superior to "most of The Rolling Stones' catalog."[46]In a 2018 retrospective review,The Guardian'sAlexis Petridisranked it the best album the band had ever produced, stating "their claim to be The Greatest Rock’n’Roll Band in the World has no more compelling evidence than the flawless 46 minutes of music here."[47]

David Hepworthwrote in his 2016 bookNever a Dull Momentthat the contributions of guest performers such as Keys,Jim Dickinson,and Preston gave the album "more musical range than any other Rolling Stones album," including "Dickinson's honky-tonk piano on 'Wild Horses'" and "Preston's churchy organ solo on 'I Got the Blues'".[48]Hepworth also suggested that Taylor's "Latin-flavored guitar solo" on "Can't You Hear Me Knocking" was influenced bySantana's 1970 albumAbraxas.[48]

Sticky Fingerswas inducted into theGrammy Hall of Famein 1999.[49]It was listed as No. 63 onRolling Stonemagazine's 2003 list ofThe 500 Greatest Albums of All Time,[50]No. 64 in a 2012 revised list,[51]and No. 104 in a 2020 reboot of the list.[52]

Track listing

[edit]

All tracks are written byMick Jagger and Keith Richards,except where noted.

Side one
No.TitleWriter(s)Length
1."Brown Sugar"3:48
2."Sway"3:50
3."Wild Horses"5:42
4."Can't You Hear Me Knocking"7:14
5."You Gotta Move"
2:32
Side two
No.TitleWriter(s)Length
1."Bitch"3:38
2."I Got the Blues"3:54
3."Sister Morphine"
5:31
4."Dead Flowers"4:03
5."Moonlight Mile"5:56

Personnel

[edit]
  • Track credits are noted in parentheses and based on CD numbering where the titles of the second side are numbered from 6 to 10.[53]

The Rolling Stones

Additional personnel

Technical

Charts

[edit]

Certifications

[edit]
Certifications forSticky Fingers
Region Certification Certified units/sales
Australia (ARIA)[90]
original release 		Gold 20,000^
Australia (ARIA)[91]
release of 2015 		Gold 35,000^
Canada (Music Canada)[92] Platinum 100,000^
France (SNEP)[93] Gold 100,000*
Italy (FIMI)[94] Gold 25,000‡
Norway (IFPINorway)[95] Silver 20,000[96]
United Kingdom (BPI)[97]
release of 2015 		Platinum 300,000‡
United States (RIAA)[98] 3× Platinum 3,000,000^

*Sales figures based on certification alone.
^Shipments figures based on certification alone.
‡Sales+streaming figures based on certification alone.

See also

[edit]

References

[edit]
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  2. ^abSisario, Ben (5 July 2009)."Allen Klein, 77, Dies; Managed Music Legends (Published 2009)".The New York Times.ISSN0362-4331.Archivedfrom the original on 30 October 2017.Retrieved23 December2020.
  3. ^Sanchez, Tony (1996).Up and Down with the Rolling Stones,p. 195. Da Capo Press.ISBN0-306-80711-4.
  4. ^Greenfield, Robert (2006).Exile on Main Street: A Season in Hell with the Rolling Stones,pp. 95–96. Da Capo Press.ISBN0-306-81433-1.
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  6. ^Bridges, Rose (2017). "3".Yoko Kanno's Cowboy Bebop Soundtrack.Bloomsbury.
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Further reading

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