The Stones' 2002 studio session recordings, which are currently astonishing enthusiasts around the world, will of course be released by our store. The year 2002 marked the 20th anniversary of the group's formation, so the Stones were guaranteed to be active, but what they released at that time was not a new studio album, but a best album called "FORTY LICKS". I don't think there are many groups that release best albums every time they sign a contract with a record company or reach a turning point in their activities (laughs), but this time they attacked with a new pattern of basically being the best, but still including some new songs. It was also surprising that the 40th anniversary of the formation of the group was limited to the release of a best album, even though it included new songs at the time. Although the studio album "BRIDGES TO BABYLON" released before that was now considered a masterpiece, at the time it ended up with poor reviews and sales, and to make matters worse, when they performed live in the United States, they faced the dilemma of a slow response to the new songs. It seems that this had become a serious situation for Mick. If the album he made after much arguing with Keith only sold to that extent and was not well received by the audience... that's why in 2002, he released the best album with new songs, "FORTY LICKS," as if he had given up. However, there was also an advantage. Since it did not require recording for an album, the recording was set up in Paris for only one month. Even so, Mick and Keith's nature is that their creative desire boils once they enter the studio. Even in just one month, a lot of songs were produced. In fact, when "FORTY LICKS" was released, Keith insisted, "This time it's a best-of album, but Mick and I already have ideas that could make an album." The shocking recording that will be released this time proves this. It's a session recording that is less than 50 minutes long, about the length of a regular studio album, but it's surprisingly enjoyable. The Stones' session recordings, especially those from the 1970s onwards, are often considered "interesting but difficult to listen to", "sounds that should have been shelved", or "materials that allow us to confirm the Glimmer Twins' producing ability to polish the master takes". However, every take on this recording is highly polished, and there is no performance that is tiring to listen to. The biggest surprise among them is that the draft of "Trouble", which saw the light of day on Keith's latest solo album, was performed in the Stones session under the working title "Just Because". Although "Trouble" was recorded as Keith's solo work, the song itself was full of his unique sense, so it doesn't feel strange to hear it performed by the Stones in this way, and it gives me goosebumps to hear Mick singing it. Keith was trying out "Almost Hear You Sigh" in the "TALK IS CHEAP" session, and it was later completed as a Stones song for "STEEL WHEELS", but this is the opposite pattern. On the other hand, "Cried Out" is a draft of a song released as "Lough, I Nearly Died" on "A BIGGER BANG" in 2005. The song was already pretty much complete, and when it was later reborn as "Lough, I...", it was put together with a modern sound that Mick would be pursuing, whereas this is an R&B ballad style that shows off the Stones' talents. This seems to be more appealing. All of the other unreleased songs have an atmosphere that suggests they were mainly created by Mick. There are so many drafts and outtakes like this between "SOME GIRLS" and "UNDERCOVER", but the great appeal of this recording is that you don't see the vocals being off, which is common in them. Every song has a good balance of Mick's voice, making it really worth listening to. As Keith said, it certainly proves that he was trying out a number of new song ideas. What's more, what makes this recording valuable is that the conversations between the songs even convey the "atmosphere of the session". The session recordings from "SOME GIRLS" to "UNDERCOVER" surprisingly do not include such exchanges between takes. On the other hand, such scenes were heard in the session recordings of "VOODOO LOUNGE", but this time the amount was too huge (laughs). In that respect, the ease of listening to this recording stands out. To top it off, the sound quality is as high as the official level, so there is nothing to complain about. And the two songs included in "FORTY LICKS" are like rough mixes just before completion, but these are also not to be missed. First of all, "Don't Stop" has clapping at the same time as the song begins, and Mick's ad-lib towards the ending is completely different, and it continues until the fade-out. In that respect, "Keys To Your Love" was even more just before completion, but Keith's gentle harmony comes in at the development section. I wish they had left this as it was. This is a shocking recording with such rich content and sound quality, but as a bonus, two jam-style numbers from this session that were used on the "FOUR FLICKS" DVD are also included to further enrich the content. This is a rare and accessible recording for a Stones session recording that stands out for its loose side, and you will want to listen to this shocking new recording over and over again. Please enjoy it carefully. Studio Guillaume Tell, Paris, France 13th May - 7th June 2002 STEREO SBD (50:21) 1. Just Because (I) 2. Dreams 3. Cried Out 4. Studio Chat #1 5. Just Because (II) 6. Studio Chat #2 7. Love is a Test 8. When I Call Your Name 9. U Don't Wanna 10. Don't Stop 11. Keys to Your Love 12. Extreme Western Grip 13. Well Well
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