The Rolling Stones’ Bill Wyman released solo songs that initially received little attention. He released one song that became a hit in the United Kingdom. The song in question is forgotten today.
The Rolling Stones‘ Bill Wyman initially decided he didn’t want to make solo songs like Mick Jagger did. Despite this, he had a hit song of his own. He explained why he changed his mind and released a famous single of his own.
Why The Rolling Stones’ Bill Wyman wanted to release songs without his band
In the 2013 book 50 Licks: Myths and Stories from Half a Century of The Rolling Stones, Wyman discussed putting out his hit song “(Si, Si) Je Suis un Rock Star.” “It’s really exciting — it’s like the first time we as a group had a hit; everything feels new again,” he said. “We all have our insecurities and doubts about whether...
The Rolling Stones‘ Bill Wyman initially decided he didn’t want to make solo songs like Mick Jagger did. Despite this, he had a hit song of his own. He explained why he changed his mind and released a famous single of his own.
Why The Rolling Stones’ Bill Wyman wanted to release songs without his band
In the 2013 book 50 Licks: Myths and Stories from Half a Century of The Rolling Stones, Wyman discussed putting out his hit song “(Si, Si) Je Suis un Rock Star.” “It’s really exciting — it’s like the first time we as a group had a hit; everything feels new again,” he said. “We all have our insecurities and doubts about whether...
- 6/23/2023
- by Matthew Trzcinski
- Showbiz Cheat Sheet
The Rolling Stones will mark the 40th anniversary of their 1981 album, Tattoo You, with a reissue featuring a bonus disc filled with previously unreleased material. The set will arrive on October 22nd via Polydor/Interscope/UMe.
To accompany the announcement, the Stones released “Living in the Heart of Love,” one of the nine previously unreleased songs that will appear on the bonus disc, Lost & Found. The nine songs were all originally recorded while the Stones were making Tattoo You, but were recently completed and enhanced with additional vocals and guitar by the Stones.
To accompany the announcement, the Stones released “Living in the Heart of Love,” one of the nine previously unreleased songs that will appear on the bonus disc, Lost & Found. The nine songs were all originally recorded while the Stones were making Tattoo You, but were recently completed and enhanced with additional vocals and guitar by the Stones.
- 8/19/2021
- by Jon Blistein
- Rollingstone.com
An excited murmur fills the air. Fingers of light poke through the smoky night sky. Backstage, band members grab instruments and shake hands with anticipatory pleasure.
On stage, flames erupt from trap doors. Seen from overhead, a huge European stadium flashes with colored lights and smoke like an alien spaceship landing in a dense, urban jungle. A loud speaker booms.
It's The Rolling Stones ''At the Max.''
This first feature film produced in the large-screen IMAX format is a spectacular concert film-time capsule of last year's Rolling Stones Steel Wheels-Urban Jungle Tour.
''At the Max'' will be a superhit at all IMAX theaters worldwide. This may not be the ultimate rock concert film. But it surely points the way to whatever will be.
IMAX, which projects its images on a five-story-tall screen, has long been the domain of nature studies and space exploration films. Until recently what prohibited filming a concert was the three-minute film magazine on the incredibly cumbersome IMAX cameras.
But a new, 2,700-foot magazine coupled with the development of faster film allowed an IMAX crew, lead by Julien Temple, to film Stones concerts over five nights in the summer of 1990.
IMAX takes the viewer everywhere. You're on stage strutting with Mick Jagger; in the joyous, sing-along crowds; in seats which, if they existed, would be suspended in mid-air.
''At the Max'' displays none of the large-screen gimmickry that took viewers on swift rides down rivers or flights over tree tops. The approach is straightforward with slow pans and an emphasis on wide, wide shots that dazzle the eye.
The Steel Wheels set is said to have been inspired by Ridley Scott's ''Blade Runner.'' But it looks more like the deck of a fabulous, derelict ship taken over by rock 'n' roll pirates.
As walls of music wash over its deck, Jagger climbs all over the towers, catwalks and gangplanks. Two huge helium dolls of Honky Tonk women inflate and tower over the stage for one number. Later, the band is menaced by two huge dragons.
It's difficult to divvy up the credit, as IMAX demands total collaboration. Temple served as creative consultant and location director along with Roman Kroitor, David Douglas and Noel Archambault.
The magnificent camera work is by David Douglas and Andrew Kitzanuk, with Haskell Wexler listed as camera consultant.
The six-channel soundtrack which surrounds the viewer was produced by Stones music producer Chris Kimsey working with IMAX sound mixer Paul Massey and Bruce Nyznik.
What's missing, though, is a firm directorial hand, someone to design and select shots that bring the viewer into the emotions of each song. The images are so sharp and overwhelming that an audience craves a point of view. Otherwise, eyes and ears go into sensory overload.
The aging boys in the band still play with grace, wit and a genuine pleasure in their own music.
Each member forcefully exerts his own personality in this up-close-and-personal view: tireless Jagger, running his own rock marathon; sagacious Keith Richards, his eyes always twinkling; a bemused Charlie Watts, creating magic with his tiny drum set; painfully shy Bill Wyman, forever evading the spotlights; and fun-loving Ron Wood, determined to find the weirdest angles to play a guitar.
AT THE MAX
BCL Group/IMAX Corp.
Executive producers Michael Cohl, Andre Picard
Creative consultant, location director Julien Temple
Location direction Roman Kroitor, David Douglas, Noel Archambault
Directors of photography David Douglas, Andrew Kitzanuk
Camera consultant Haskell Wexler
Editor Daniel W. Blevins
Music producer Chris Kimsey
IMAX sound mixer Paul Massey
Postproduction sound Bruce Nyznik
Video director Christine Strand
Color/Stereo
Cast:
Mick Jagger, Keith Richards, Charlie Watts, Ron Wood, Bill Wyman
Running time -- 90 minutes
No MPAA rating
(c) The Hollywood Reporter...
On stage, flames erupt from trap doors. Seen from overhead, a huge European stadium flashes with colored lights and smoke like an alien spaceship landing in a dense, urban jungle. A loud speaker booms.
It's The Rolling Stones ''At the Max.''
This first feature film produced in the large-screen IMAX format is a spectacular concert film-time capsule of last year's Rolling Stones Steel Wheels-Urban Jungle Tour.
''At the Max'' will be a superhit at all IMAX theaters worldwide. This may not be the ultimate rock concert film. But it surely points the way to whatever will be.
IMAX, which projects its images on a five-story-tall screen, has long been the domain of nature studies and space exploration films. Until recently what prohibited filming a concert was the three-minute film magazine on the incredibly cumbersome IMAX cameras.
But a new, 2,700-foot magazine coupled with the development of faster film allowed an IMAX crew, lead by Julien Temple, to film Stones concerts over five nights in the summer of 1990.
IMAX takes the viewer everywhere. You're on stage strutting with Mick Jagger; in the joyous, sing-along crowds; in seats which, if they existed, would be suspended in mid-air.
''At the Max'' displays none of the large-screen gimmickry that took viewers on swift rides down rivers or flights over tree tops. The approach is straightforward with slow pans and an emphasis on wide, wide shots that dazzle the eye.
The Steel Wheels set is said to have been inspired by Ridley Scott's ''Blade Runner.'' But it looks more like the deck of a fabulous, derelict ship taken over by rock 'n' roll pirates.
As walls of music wash over its deck, Jagger climbs all over the towers, catwalks and gangplanks. Two huge helium dolls of Honky Tonk women inflate and tower over the stage for one number. Later, the band is menaced by two huge dragons.
It's difficult to divvy up the credit, as IMAX demands total collaboration. Temple served as creative consultant and location director along with Roman Kroitor, David Douglas and Noel Archambault.
The magnificent camera work is by David Douglas and Andrew Kitzanuk, with Haskell Wexler listed as camera consultant.
The six-channel soundtrack which surrounds the viewer was produced by Stones music producer Chris Kimsey working with IMAX sound mixer Paul Massey and Bruce Nyznik.
What's missing, though, is a firm directorial hand, someone to design and select shots that bring the viewer into the emotions of each song. The images are so sharp and overwhelming that an audience craves a point of view. Otherwise, eyes and ears go into sensory overload.
The aging boys in the band still play with grace, wit and a genuine pleasure in their own music.
Each member forcefully exerts his own personality in this up-close-and-personal view: tireless Jagger, running his own rock marathon; sagacious Keith Richards, his eyes always twinkling; a bemused Charlie Watts, creating magic with his tiny drum set; painfully shy Bill Wyman, forever evading the spotlights; and fun-loving Ron Wood, determined to find the weirdest angles to play a guitar.
AT THE MAX
BCL Group/IMAX Corp.
Executive producers Michael Cohl, Andre Picard
Creative consultant, location director Julien Temple
Location direction Roman Kroitor, David Douglas, Noel Archambault
Directors of photography David Douglas, Andrew Kitzanuk
Camera consultant Haskell Wexler
Editor Daniel W. Blevins
Music producer Chris Kimsey
IMAX sound mixer Paul Massey
Postproduction sound Bruce Nyznik
Video director Christine Strand
Color/Stereo
Cast:
Mick Jagger, Keith Richards, Charlie Watts, Ron Wood, Bill Wyman
Running time -- 90 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 10/23/1991
- The Hollywood Reporter - Movie News
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