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Sticky Fingers Import


Price: CDN$ 21.38
Only 1 left in stock.
Ships from and sold by Vanderbilt CA.
5 new from CDN$ 21.29 12 used from CDN$ 4.99 1 collectible from CDN$ 134.28

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Sticky Fingers
CDN$ 9.99
(143)
In Stock.

Frequently Bought Together

Sticky Fingers + Exile on Main Street
Price For Both: CDN$ 45.22

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Product Details

  • Audio CD (July 19 1994)
  • Number of Discs: 1
  • Format: Import
  • Label: EMI Music Canada
  • ASIN: B000000W5N
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (143 customer reviews)

1. Brown Sugar
2. Sway
3. Wild Horses
4. Can't You Hear Me Knocking
5. You Gotta Move
6. Bitch
7. I Got The Blues
8. Sister Morphine
9. Dead Flowers
10. Moonlight Mile

Product Description

Product Description

Amazon.ca

"Sister Morphine", the heart of guitarist Mick Taylor's first full studio album with the Stones, doesn't get brought up as often as "Brown Sugar" or "Wild Horses". But it's one of the most vivid, horrifying songs about drug abuse ever recorded--as Mick Jagger sings "from my hospital bed," the ringing guitars of Taylor and Keith Richards build to full catharsis behind him. On that and lighter songs like the countryish "Dead Flowers" and the rocker "Bitch", Charlie Watts establishes himself as rock's prototypical drummer. He's creative and propulsive and knows how to swing, but he never overwhelms the song or the other Stones. --Steve Knopper

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Customer Reviews

4.8 out of 5 stars

Most helpful customer reviews

3 of 3 people found the following review helpful By James Wheeler on July 14 2004
Format: Audio CD
Sticky Fingers is no more a drug album than the world is a heavy place, or so Keith Richards once said. One of the handful of greatest albums of any genre, Sticky Fingers defies criticism. From the opening suspended chord of Brown Sugar to the final strings of Moonlight Mile, on Mick Taylor's first Stones album proper (he played a few notes on Let It Bleed) everything is right. The funk break in Can't You Hear Me Knocking, the mean woman blues of You Gotta Move, the Otis Redding copy I Got The Blues, Paul Buckmaster's strings on Moonlight Mile, the Gram Parsons's "influenced" Dead Flowers and Wild Horses (Keith recently admitted that he can't recall the extent of Parsons's writing those songs due to the drug haze surrounding the sessions), the harrowing heroin horror-show of Sister Morphine, and the violent R&B/Rock that the Stones had perfected and were more than happy to flaunt on Sway (my personal favorite), Bitch, and Brown Sugar offer an encyclopaedic masterful display of music. The fact that this baby opens with greatest single ever only seals its fate and every serious (or even joking) record collection should reserve an important place for Sticky Fingers. If you don't own it, you don't enjoy rock music.
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1 of 1 people found the following review helpful By A Customer on June 24 2004
Format: Audio CD
It's pretty easy to avoid overpraising an album that is bracketed by two of the best expressions of the rock'n'roll sensibility ever recorded. "Sticky Fingers" followed 1969's apocalyptic masterpiece "Let It Bleed" and preceded 1972's kaleidoscopic riffmixer "Exile on Main Street" in a string that also included "Beggars Banquet" and "Get Yer Ya-Ya's Out;" many agree with me that no popular music act ever matched that stretch of sustained excellence. Of these records, I have to say that "Sticky Fingers" may have suffered from being the most accessible; it's been the rule with me that hating a record on first listen means a love affair in the making. I sure didn't have that problem with this one. At age fourteen, I melded the snippets that I heard of "Sticky Fingers" into my personal soundtrack of the summer of 1971. "Brown Sugar" shook me when I first heard it; "Wild Horses" had a similarly seismic effect on my teen hormones. I'd hear bits and pieces wafting from that gorgeous 18-year-old brunette's apartment, near the beach at Ocean City, and think, hmmmmm. Maybe I have to buy this one soon. When I did, no adjustment period was required. (I mean, I HATED the other records in this string when I first heard them.)
You know? Maybe the REALLY great stuff is like THAT. If I could only save one record (please God let that cup pass my lips) from my blazing bedroom, "Exile" might still be it. But I'd tell the firefighters not to come out without this one. Its first three songs may be the best 1-2-3 punch on any rock record. "Brown Sugar" is the most overplayed number I still insist on playing; it's still air-guitar/air-sax heaven, with bathroom-mirror singing parts. I'm happy, though, to see all the plugs on this site for "Sway," my favorite Stones song.
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1 of 1 people found the following review helpful By A Customer on Aug. 15 1999
Format: Audio CD
When you hear of great Stones albums, usually 3 are mentioned: Beggars Banquet, Let It Bleed, and Sticky Fingers. Although the Stones put out other albums as good, the 3 mentioned all feature the Stones at their "nastiest".
"Brown Sugar" starts it out with a tasty sax solo by Bobby Keyes. "Wild Horses" is one of the greatest bittersweet ballads. "Knockin'" is awesome with some guitar duelling between Keith and Mick Taylor. "Sway" is underrated and "You Gotta Move" continues the blues/country/folk style the Stones were known for. I'd like to dedicate "Sister Morphine" to a former fair weather friend, who wanted to be a Sister, was just as addictive, and left me strung out after her demise. I'll dedicate "Dead Flowers" in her honour now, since I'm over her! Ry Cooder played on "Morphine", which was written while Brian Jones was still alive. On a Spanish version of SF, "Morphine" is replaced by a very rare live track called "Let It Rock". "Moonlight Mile" features ironically beautiful Eastern-inspired melodies which belie lyrics of despair and addiction.
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Format: Audio CD
Sticky Fingers finds the Stones riding at their peek and white-hot. It is also the first time the Stones were out from under the shadow of the Beatles. Somehow, when they were no longer competing with the Beatles they were able to come into their own. Freedom was good for them.
The Stones were also free from the sixties and all that "revolution" nonsense. The Stones could be their own kind of "cool" and millions ate it up.
Production values also changed. As a close listen to this record will show, stereophonic sound now had a presence in which the listener seemed to find himself in the midst of the instruments and musicians. This was exciting at the time and gave the listener a new sense of realism in the playing. Later in the seventies, this approach was driven so far that many records felt claustrophobic. The sound was so up close and precise that it became unreal. In the Stones' hands, however, the sound was tight but the feeling was loose and free.
The album opens with "Brown Sugar" and "Sway". Wonderful lyrics, good solos, rocking rhythm. Definitely forbidden subject matter. But this was all a part of the new era of freedom and frankness of the time. It was all about being "past all those hang ups".
"Wild Horses" is a touching, tender ballad that somehow manages to drip with masculinity. "Can't You Here Me Knocking" is perhaps the greatest lost Stones song. Perhaps it is all the drug references or because the instrumental section reminds many of Santana, but it is smart and tough and all cool. It is unjustly ignored.
"You Gotta Move" is a slide guitar blues song that seems inconsequential but you find yourself playing it in your head weeks later.
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