This week’s episode features Dusty Groove in Chicago. “There’s nothing compared to the feeling of walking into a record store, hearing music, playing it, touching it, feeling it, you know, it’s a very tactile environment.” Rick Wojcik
Behind The Counter is a 12 part video series that tells the stories behind the wonderful world of independent record stores.
The Savages frontwoman and soloist, who last week released a collaborative album with Primal Scream’sBobby Gillespie, posted on Instagram a video of herself holding a burning stick as a symbol of shining “a light” on the state of the industry.
“Today I want to shine a light on mental health issues in the music industry, because it doesn’t happen just in pop world but in the indie world too,” she began.
“I know a lot of musicians who struggle to be heard and respected, even in 2021, one can still find oneself face to face with the inevitable attitude and language of the oppressor. It can be a very unempathetic industry, Rocknroll capitalism emphasises power abuses, turns artists against artists, pushes them to consider a number of streams or listeners before friendship & art, or themselves.”
“We’ve witnessed the casualties of those age-old patriarchal abuse many times, on everyone, and yet they are still widely spread in the fabric of our community.”
The Rolling Stones frontman has still never published a memoir, and recently described the process of writing an autobiography as “simply dull and upsetting”.
Speaking to The Guardian,Coleman recalled being drafted in by publisher Weidenfeld & Nicolson in 1983 to take the reins on Jagger’s autobiography after the previous ghostwriter failed to finish the project.
“[W&N] said: ‘You’re the only person we know who can do this,’” Coleman said. “So rather surreally I became Mick Jagger’s ghostwriter’s ghostwriter.”
Coleman went to work on Jagger’s autobiography in New York, though early problems arose when the original ghostwriter “stopped returning my calls” before Coleman was then given a deadline of just two weeks to finish the project.
“Two chapters were more or less presentable,” Coleman said of what existed of the autobiography when he started work. “The rest was a pile of interview transcripts, and nothing related to recent years. Stitching everything together was an awful experience.”
The Jagger transcripts included his recollections of meeting Keith Richards for the first time, guitarist Brian Jones’ death in 1969 and the Stones’ disastrous show at the Altamont festival where audience member Meredith Hunter was killed by a member of the Hells Angels.
“All the big stuff was in there, there just wasn’t anything interesting said about it,” Coleman said about the material. “There was always this sense in the transcripts that Mick was holding back, or trying not to hurt anybody’s feelings.”
While Coleman was able to finish the autobiography by the two-week deadline, Jagger had grown unsure about the project and ultimately decided to axe the plans to publish the memoir.
“We’d talked a lot about whether he still wanted to go ahead, or whether we could do it again, but differently,” Coleman said about those final discussions. “Mick didn’t blame me. He just didn’t want to do it.
“I think he respected his audience by not giving them something ordinary about an extraordinary life. I’ve lived with this story for 38 years with a certain frustration, but in a way it tells you more about Mick than anything that could have come out in a mediocre book.
“It needed Mick to be able to talk to someone like he might a therapist, approach his life from a tangent. Instead we ended up with something that was too pedestrian for Mick Jagger.”
Jagger previously said in 2014 that anyone who wanted to read his memoir should “look it up on Wikipedia”.
In 2017 the writer and publisher John Blake claimed to have a copy of the singer’s unfinished manuscript and described it as “a little masterpiece”.
A special 40th anniversary edition of the compilation album is the reason for the original 1981 record’s current surge to the top, with 86 per cent of the new special edition record’s sales so far coming from physical formats.
As Official Charts notes, the anniversary re-release includes a collector’s edition of the CD with an exclusive slipcase cover, as well as a limited edition cassette that is available in five different colours.
Should the album continue to hold its current ranking from the Official Charts update, then it will mark its fifth total week at the top of the Official Albums Chart. When Greatest Hits was first released in 1981, it spent four consecutive weeks in the Number One spot across that November and December.
Greatest Hits retains the title of the best-selling album of all time in the UK. In 2019 it became the first album ever to sell 6,000,000 copies. To date, the album has spent 952 weeks in the Official Albums Chart.
The news comes after recent reports that the band are making more than £100,000 a day from the 2018 Freddie Mercury biopic Bohemian Rhapsody.
Bohemian Rhapsody has made over $900million (£654m) at the box office at the time of writing, and according to new accounts from Customs House, the band – Brian May, Roger Taylor and John Deacon – and Mercury’s estate are seeing a big chunk of that money.
As Music News reports, in the year before the blockbuster’s release, the band filed profits of £11.8m pre-tax, with a turnover of £21.9m. Following the film’s release, though, Queen Productions registered a turnover of £42m in the 12 months dated to September 2020, making over £19m pre-tax.