Sticky Fingers is the 9th British and 11th American studio album by the English rock band the Rolling Stones. The Stones released it on 23 April 1971 on their new, and own label Rolling Stones Records. They 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 later re-issues featured just the outer photograph of the jeans.
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.[27] 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."[28] 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".[29] 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.[30] 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]
In 1994, Sticky Fingers was ranked number ten in 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."[41] 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."[22] NME wrote that it "captures the Stones bluesy swagger" in a "dark-land where few dare to tread."[20] 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."[22] In his review for Goldmine magazine, Dave Thompson wrote that the album still is superior to "most of The Rolling Stones' catalog."[42]
We brought in a couple of guys from Senegal to get that percussive bongo sound. They brought in their own instruments, and an incredible array of primitive African hardware, so there's lots of great percussion throughout the album...
Dudgeon started out as an engineer for Decca and the Stones were one of his first jobs. He engineered 1963 sessions for them for Poison Ivy and Fortune Teller. He also engineered some Andrew Oldham Orchestra sessions in early 1965. He went on to engineer groups like Them, Marianne Faithfull, John Mayall & the Bluesbreakers, and The Small Faces. Graduating to producer, in 1970 Dudgeon became Elton John's exclusive producer for all of his classic albums until 1976. He also worked with David Bowie, Joan Armatrading and other acts. In the mid '80s, he reunited with Elton John. In later years, he worked with the Moody Blues and XTC.
In 1996, Ronnie jammed onstage with Dylan again at a London concert. Two years later, Dylan opened for the Stones' South American shows and guested with them onstage during Like a Rolling Stone. In 2001, Ronnie performed at another Dylan concert in Ireland and Dylan played on Ronnie's solo album, Not for Beginners. Woody joined Dylan again for a full concert in June 2004 in Finsbury Park, London.
Sticky Fingers is the ninth British and 11th American studio album by English rock band The Rolling Stones, released in April 1971. It is the band's first album of the 1970s and its first release on the band's newly formed label, Rolling Stones Records, after having been contracted since 1963 with Decca Records in the UK and London Records in the US. It is also Mick Taylor's first full-length appearance on a Rolling Stones album, the first Rolling Stones album not to feature any contributions from guitarist and founder Brian Jones and the first one on which singer Mick Jagger is credited with playing guitar.
Sticky Fingers is widely regarded as one of the Rolling Stones' best albums. It achieved triple platinum certification in the US and contains songs such as the chart-topping "Brown Sugar", the country ballad "Wild Horses", the Latin-inspired "Can't You Hear Me Knocking", and the sweeping ballad "Moonlight Mile".
With the end of their Decca/London association at hand, The Rolling Stones would finally be free to release their albums (cover art and all) 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 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 come to be released by ABKCO Records. The band would remain incensed with Klein for decades over the act.
When Decca informed The Rolling Stones that they were owed one more single, they cheekily submitted a track called "Cocksucker Blues", which was guaranteed to be refused. Instead, Decca released the two-year-old Beggars Banquet track "Street Fighting Man" while Klein would have dual copyright ownership, with The Rolling Stones, of "Brown Sugar" and "Wild Horses".
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