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Sticky Fingers

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

Sticky Fingers
Studio album by
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 Stones chronology
Get Yer Ya-Ya's Out! The Rolling Stones in Concert
(1970) 		Sticky Fingers
(1971) 		Exile on Main St.
(1972)
Spanish issue
Singles from Sticky Fingers
  1. "Brown Sugar" / "Bitch"
    Released: 16 April 1971
  2. "Wild Horses" / "Sway"
    Released: 12 June 1971

Sticky Fingers is the ninth studio album by the English rock band the Rolling Stones. It was released on 23 April 1971 on the Rolling Stones' new label, Rolling Stones Records. The Rolling Stones had been contracted by Decca Records and London Records in the UK and the US since 1963. On this album, Mick Taylor made his second full-length appearance on a Rolling Stones album (after the live album Get Yer Ya-Ya's Out!). It was the first studio album without Brian Jones, who died two years earlier. The original cover artwork, conceived by Andy Warhol and photographed and designed by members of his art collective, the Factory, showed a picture of a man in tight jeans, and had a working zip that 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 by John Kosh at 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), and Charlie Watts (drums). Additional contributions were made by long-time Stones collaborators including saxophonist Bobby Keys and keyboardists Billy Preston, Jack Nitzsche, Ian Stewart, and Nicky Hopkins. As with the other albums of the Rolling Stones late 1960s/early 1970s period, it was produced by Jimmy Miller.

Sticky Fingers is 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 achieved triple platinum certification in the US. "Brown Sugar" topped the Billboard Hot 100 in 1971. Sticky Fingers was voted the second best album of the year in The Village Voice's annual Pazz & Jop critics poll for 1971, based on American critics' votes. The album was inducted into the Grammy Hall of Fame and included in Rolling Stone magazine'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 manager Allen Klein dealt the group a major blow when they discovered that they had inadvertently signed over their entire 1960s American copyrights to Klein and his company ABKCO, which is how all of their material from 1963's "Come On" to Get Yer Ya-Ya's Out! The Rolling Stones in Concert has 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-old Beggars Banquet track "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 for Sticky Fingers began in earnest in March 1970, the Rolling Stones had been recording at Muscle Shoals Sound Studio in Alabama in December 1969, where they cut "You Gotta Move", "Brown Sugar" and "Wild Horses". "Sister Morphine", cut during Let It Bleed's sessions earlier in March of that year, had been held over from that release. Much of the recording for Sticky Fingers was made with the Rolling Stones' mobile studio in Stargroves during the summer and autumn of 1970. Early versions of songs that would eventually appear on Exile on Main St. were also rehearsed during these sessions.[4]

Music and lyrics

[edit]

Sticky Fingers originally included 10 tracks. The music has been characterised by commentators as hard rock,[5] roots rock[6] and rock and roll.[7] According to Rolling Stone magazine, it is "the Stones' most downbeat, druggy album, with new guitarist Mick Taylor stretching into jazz and country".[8]

Artwork

[edit]

Standard version

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

The artwork emphasised the innuendo of the Sticky Fingers title, showing a close-up of a jeans-clad male crotch with the visible outline of a penis. The cover of the original vinyl LP featured a working zipper and perforations around the belt buckle that opened to reveal a sub-cover image of white briefs. 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 artist Andy Warhol, below which read "THIS PHOTOGRAPH MAY NOT BE—ETC." The artwork was conceived by Warhol and the design by Craig Braun. Billy Name is 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 in rolling paper – a concept later used by Cheech & Chong in Big Bambu – but Jagger was enthused by Warhol's concept. Warhol duly sent Braun Polaroid pictures 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 like The Temptations, The Supremes, Joe Cocker and a teen idol named Bobby 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 is Glenn O'Brien, who was the editor of Warhol's Interview magazine, 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 are Jed Johnson, Warhol's lover at the time, and Warhol superstar Joe 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 by John Pasche and modified by Craig 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 the tongue and lips logo of Rolling Stones Records, designed by John Pasche in 1970. Jagger suggested to Pasche that he copy the out-stuck tongue of the Hindu goddess Kali. 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 by Marshall 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, VH1 named the "No. 1 Greatest Album Cover" of all time.[17]

Alternative version and covers

[edit]

In Spain, the original cover was censored by the Franco regime and 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 compilation Rarities 1971–2003 in 2005.

In 1992, the LP release of the album in Russia featured a similar treatment as the original cover; but with Cyrillic lettering for the band name and album name, a colourised photograph of blue jeans with a zipper, and a Soviet Army uniform belt buckle that shows a hammer and sickle inscribed 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 Fingers was released on 23 April 1971[31] and reached number one on the UK Albums Chart in 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 the Billboard 200.[32] According to Billboard's Top 200 list, it was one of the albums that topped the German chart that year.

In a contemporary review for the Los Angeles Times, music critic Robert Hilburn said that although Sticky Fingers is 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 in Rolling 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 for Rolling Stone in 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 the Chicago Tribune viewed 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 for Slate, 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 Fingers was voted the second best album of the year in The Village Voice's annual Pazz & Jop critics poll for 1971.[37] Lester Bangs voted 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 for The Village Voice, Christgau suggested that the release was "triffling with decadence", but might be the Rolling Stones' best album, approached only by Exile on Main St. (1972).[40] In Christgau's Record Guide: Rock Albums of the Seventies (1981), he wrote that it reflected how unapologetic the band was after the Altamont Free Concert and 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 Fingers was remastered and reissued by Virgin 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 Fingers was remastered again in 2009 by Universal Music Enterprises and in 2011 by Universal Music Enterprises in a Japanese-only SHM-SACD version; 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 reissued Sticky Fingers in its 2009 remastering in a variety of formats to coincide with a concert tour, the Zip 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 the Roundhouse in London and the complete 13 March 1971 show at Leeds University. It re-entered the UK Albums chart at number 7, extending their UK Top 10 album chart span beyond 51 years and 2 months since their self-titled debuted 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 since 12 x 5 on 14 December 1964.[41][42][43][44]

Legacy

[edit]

Sticky Fingers was ranked number ten in the 1994 first edition of Colin Larkin's All 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, Q magazine said that the album was "the Stones at their assured, showboating peak ... A magic formula of heavy soul, junkie blues and macho rock."[28] NME wrote that it "captures the Stones bluesy swagger" in a "dark-land where few dare to tread."[26] Record Collector magazine 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 for Goldmine magazine, Dave Thompson wrote that the album still is superior to "most of The Rolling Stones' catalog."[46] In a 2018 retrospective review, The Guardian's Alexis Petridis ranked 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 Hepworth wrote in his 2016 book Never a Dull Moment that 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 by Santana's 1970 album Abraxas.[48]

Sticky Fingers was inducted into the Grammy Hall of Fame in 1999.[49] It was listed as No. 63 on Rolling Stone magazine's 2003 list of The 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 by Mick 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 for Sticky 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 (IFPI Norway)[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]
  1. ^ a b McMillian, John (17 December 2013). "You Never Give Me Your Money: How Allen Klein Played The Beatles and The Stones". Newsweek. Archived from the original on 3 December 2020. Retrieved 23 December 2020.
  2. ^ a b Sisario, Ben (5 July 2009). "Allen Klein, 77, Dies; Managed Music Legends (Published 2009)". The New York Times. ISSN 0362-4331. Archived from the original on 30 October 2017. Retrieved 23 December 2020.
  3. ^ Sanchez, Tony (1996). Up and Down with the Rolling Stones, p. 195. Da Capo Press. ISBN 0-306-80711-4.
  4. ^ Greenfield, Robert (2006). Exile on Main Street: A Season in Hell with the Rolling Stones, pp. 95–96. Da Capo Press. ISBN 0-306-81433-1.
  5. ^ Gilman, William (July 1971). "The Pick". Gramophone. 49. London: 245. The music is hard rock and a reversion to this group's earlier days prior to their "Beggars' Banquet" album, which is about the most imaginative LP they have achieved.
  6. ^ Bridges, Rose (2017). "3". Yoko Kanno's Cowboy Bebop Soundtrack. Bloomsbury.
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  9. ^ a b Fairclough, Steve (30 December 2021). "Greatest album photography: Sticky Fingers by the Rolling Stones". Amateur Photographer. Retrieved 27 September 2024.
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Further reading

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