Goats Head Soup (Remastered) The Rolling Stones

• 1 Dancing With Mr D 04:52
• 2 100 Years Ago 03:58
• 3 Coming Down Again 05:54
• 4 Doo Doo Doo Doo Doo (Heartbreaker) 03:27
• 5 Angie 04:32
• 6 Silver Train 04:26
• 7 Hide Your Love 04:12
• 8 Winter 05:29
• 9 Can You Hear The Music 05:32
• 10 Star Star 04:24
• Total Runtime 46:46

Info for Goats Head Soup (Remastered)

Another prized jewel in the Rolling Stones' unmatched catalog is to be restored to its full glory of their 1973 classic Goats Head Soup.

The reissue follows the huge success and acclaim for the Stones' "Living In A Ghost Town" single and their universally-admired lockdown performance of "You Can't Always Get What You Want" in Global Citizen's April special One World: Together at Home.

The layered guitar textures of "Scarlet" make for a track that's as infectious and raunchy as anything the band cut in this hallowed era. As well as Jimmy Page guesting alongside Mick & Keith on the track it also features on bass Rick Grech of Blind Faith fame.

"All The Rage" has a wild, post - "Brown Sugar" strut and the percussive "Criss Cross" rocks and swaggers as only the Stones can. The bonus disc of unreleased material also sheds new light on tracks such as "100 Years Ago" and "Hide Your Love," with further unissued mixes by Stones insider and acclaimed producer Glyn Johns.

As McCann writes: "Goats Head Soup was released with plenty of fanfare. Despite what you may read today, the kids weren't entirely absorbed by glam rock, metal, prog and Philly soul back in 1973, and they bought the album in their thousands, sending it to No. 1 in the USA and in the UK, their fifth consecutive British chart-topper."

Their 11th UK studio album, recorded in Jamaica, Los Angeles and London as their last collaboration with producer Jimmy Miller, Goats Head Soup came in the wake of the Stones' landmark 1972 double album Exile On Main St. The new set was introduced by the single that became one of their most exalted ballads, the endlessly elegant "Angie," completed by Mick Jagger and Keith Richards during a songwriting sojourn in Switzerland.

The timeless love song, showcasing Jagger's yearning lead vocal and Nicky Hopkins' beautiful piano motif, topped the charts in the US, where it was certified platinum, and went to No. 1 across Europe, Australia and beyond. "We decided to do something different, and it worked," Richards told Rolling Stone of "Angie". "Maybe a lot of people bought it that would never buy a Stones LP." Interestingly in a recent interview with The New York Times, Bob Dylan chose "Angie" as one of three Rolling Stones songs he wished he had written.

Goats Head Soup, with its famous David Bailey sleeve, featured the Stones' vintage 1969-1974 line-up of Jagger, Richards, Mick Taylor, Bill Wyman and Charlie Watts, with the addition of some essential collaborators. On an album on which their trademark rocking sound was often augmented by more low-key, reflective material, there were no fewer than four featured piano players: Hopkins, Billy Preston, Ian 'Stu' Stewart and Jagger himself.

"Angie" was the only single to be released from the LP in the UK, where it spent two weeks at No. 5 in September. In the US, the exhilaratingly funky, horn-filled "Doo Doo Doo Doo Doo (Heartbreaker)," featuring Mick Taylor's wah-wah lead guitar, followed it into the top 20 in February 1974.

The many other highlights of the album included the majestically brooding opener "Dancing With Mr. D," the lithely strutting "100 Years Ago" and "Star Star" and the graceful "Winter." Richards' rueful lead vocal on "Coming Down Again" featured another Stones stalwart, saxophonist Bobby Keys. "Silver Train," the b-side of "Angie," would be revived after a gap of some 40 years, during the Stones' 14 On Fire tour of 2014, when Mick Taylor reprised his original guitar part in shows in Tokyo and Brisbane.

When the album was first released, reviewers lined up to sing its praises. "This is music which could only come from good musicians who know each other really well," ruled the late and esteemed writer-broadcaster Charlie Gillett in Let It Rock. "The Stones succeed because they rarely forget their purpose — the creation of rock & roll drama," said Bud Scoppa in Rolling Stone. "It's deepening and unfolding over the coming months will no doubt rate as one of the year's richest musical experiences."

Stephen Demorest in Circus said that the album "rushes and rambles with all the power and finesse that have become the signature of the hardworking band in performance." Forty-seven years on, the expanded reissues of Goats Head Soup prove that's still true, and then some.

Mick Jagger, lead vocals (all but 3), backing vocals (1, 3, 4, 6, 9, 10), electric guitar (6, 8), harmonica (6), piano (7)
Keith Richards, electric guitar & backing vocals (1, 3, 4, 6, 9, 10), bass guitar (2, 4, 6, 7), acoustic guitar (5), lead vocals (3)
Mick Taylor, electric guitar (1, 2, 4, 6–10), backing vocals (1, 4, 6), bass guitar (1, 3, 9), acoustic guitar (5)
Bill Wyman, bass (5, 8, 10)
Charlie Watts, drums (all tracks)
Additional musicians:
Nicky Hopkins, piano (1, 3, 5, 8, 9)
Billy Preston, clavinet (2, 4), piano (4)
Ian Stewart, piano (6, 10)
Bobby Keys, tenor saxophone (4), baritone saxophone (3, 7, 10)
Jim Horn, alto saxophone (3, 4), flute (9)
Chuck Findley, trumpet (4)
Jim Price, horn arrangement (4)
Nicky Harrison, string arrangement (5, 8)
Anthony "Rebop" Kwaku Baah, percussion (1, 9)
Pascal (Nicholas Pascal Raicevic), percussion (1, 9)
Jimmy Miller, percussion (9)

Produced by Jimmy Miller

Digitally remastered

The Rolling Stones
It's hard to overestimate the importance of the Rolling Stones in rock & roll history. The group, which formed in London in 1962, distilled so much of the music that had come before it and has exerted a decisive influence on so much that has come after. Only a handful of musicians in any genre achieve that stature, and the Stones stand proudly among them.

Every album the group released through the early Seventies - from The Rolling Stones in 1964 to Exile on Main Street in 1972 -- is essential not simply to an understanding of the music of that era, but to an understanding of the era itself. In their intense interest in blues and R&B, the Stones connected a young American audience to music that was unknown to the vast majority of white Americans. Though the Stones were not overtly political in their early years, their obsession with African American music - from Robert Johnson, Muddy Waters and Howlin' Wolf to Chuck Berry, Marvin Gaye and Don Covay - struck a chord that resonated with the goals of the civil rights movement. If the Stones had never made an album after 1965 they would still be legendary.

Soon, of course, the Stones - singer Mick Jagger, guitarists Keith Richards and Brian Jones, bassist Bill Wyman and drummer Charlie Watts, in those days - became synonymous with the rebellious attitude of that era. Songs like '(I Can't Get No) Satisfaction,' 'Street Fighting Man,' 'Sympathy for the Devil' and 'Gimme Shelter' captured the violence, frustration and chaos of that era. For the Stones, the Sixties were not a time of peace and love; in many ways, the band found psychedelia and wide-eyed utopianism confusing and silly. The Stones always were - and continue to be - tough pragmatists. Against the endless promises of Sixties idealism the Stones understood that 'You Can't Always Get What You Want.' You simply want to Let It Be? Why not Let It Bleed?

For those reasons, as the Sixties drained into the Seventies, the Stones went on a creative run that rivals any in popular music. Beggars Banquet (1968), Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972) routinely turn up on lists of the greatest albums of all time, and deservedly so. All done with American producer Jimmy Miller - 'in incredible rhythm man,' in Richards' terse description - those records shake like the culture itself was shaking. As the Stones were working on Let It Bleed, Brian Jones died, and the band replaced him with Mick Taylor, a guitarist whose lyricism and melodic flair counterbalanced Richards' insistent, irreducible rhythmic drive, adding an element to the band's sound that hadn't been there before, and opening fertile new musical directions.

After that, the Stones were an indomitable force on the music scene, and they have continued to be to this day. In 1978, the band's album, Some Girls, rose to the challenge of punk ('When the Whip Comes Down') - whose energy and attitude the Stones had defined a decade earlier - but also swung with the sinuous grooves of disco ('Miss You'). The album is one of the best of that decade. Meanwhile, guitarist Ron Wood had replaced Mick Taylor in 1975, adding another key element to the version of the Rolling Stones that would last another three decades - and counting.

Tattoo You (1981) added the classics 'Start Me Up' and 'Waiting on a Friend' to the Stones' repertoire, and took its prominent place among the Stones' most compelling - and most popular - later albums. Possibly the most underrated album of the Stones' career, Dirty Work finds the band at its rawest and most rhythmically charged, a reflection of the tumult within the band when it was recorded. True Stones fans have long worn their appreciation of Dirty Work as a hip badge of honor.

With the release of Steel Wheels in 1989, the Stones went back on the road again for the first time in seven years and inaugurated the latest phase of the band's illustrious career. They've made strong, credible new albums during this period - Voodoo Lounge (1994), Bridges to Babylon (1997) - along with the excellent live album Stripped (1995) and the fun, satisfying hits collection, Forty Licks (2002).

More significantly, though, the Stones have set a standard for live performance during this time. That is an achievement completely in accord with the band's history. When the Stones began to be introduced on their 1969 tour as 'The Greatest Rock and Roll Band in the World,' they were staking that claim on the basis of their live performances. It was almost fashionable for bands to withdraw from the road at that time - Bob Dylan and the Beatles had both done so. But the Stones set out to prove that writing brilliant songs and making powerful records did not mean that you were too lofty to get up in front of your fans and rock them until their bones rattled. The Stones' live shows - epitomized, of course, by Jagger's galvanizing erotic choreography - had earned the band its reputation in its earliest years, and that flame was being rekindled.

It was lit again twenty years later, and it's burning still. Since 1989 the Stones have toured every few years to ecstatic response. Bassist Darryl Jones, who had formerly played with Miles Davis, joined the band in 1994, replacing Bill Wyman, and the Stones turned what could have been a setback into a rejuvenating rush of new energy. The Stones' live success during this period is not a matter of dollars or box-office breakthroughs, though the band has enjoyed plenty of both. It's about demonstrating a vital, ongoing commitment to the idea that performing is what keeps a band truly alive.

And that's the critical misunderstanding of the question, 'Is this the last time?' that has been coming up every time the Stones have toured for close to forty years now. It's true that over the decades the Stones have been in the news for many reasons that have little to do with music - arrests, provocative statement, divorces, affairs, all the usual detritus of a raucous lifetime in the public eye. And there's no doubt that Mick Jagger is as famous a celebrity as the world has ever seen.

But, for all that, the Stones are best understood as musicians, and their own acceptance of that fact is what has enabled them to carry on so well for so long. For all the tabloid headlines, Mick Jagger is finally an extraordinary lead singer and one of the most riveting performers - in any genre - ever to set foot on a stage. Keith Richards is the propulsive engine that drives the Stones and makes their music instantly recognizable. Ron Wood is a guitarist who has formed a rhythmic brotherhood with Richards, but who also colors and textures the band's songs with deft, melodic touches. And Charlie Watts, needless to say, is one of rock's greatest drummers. He is both the rock that anchors the band, and the force that swings it. At once elegant in their simplicity and soaring in their impact, none of his gestures are wasted, all are necessary. He and Darryl Jones enliven the often-monolithic notion of the rock & roll rhythm section with an irresistible, unpretentious, jazz-derived sophistication.

Musicians live and create in the moment, and that's why fans still go see the Stones. Certainly there's also a catalogue of songs that only a handful of artists could rival. Surely there's also the desire to encounter a band that has played a pristine role in defining our very idea of what rock & roll is. But seeing the Rolling Stones live is to see a working band playing as hard as they can, and there's no last time for that. (Anthony DeCurtis, Source: ABKCO Music & Records, Inc. All Rights Reserved)

This album contains no booklet.