No sign of Adam Clayton's shlong here though.
If anything, David Bailey's shot of a dazed, androgynous Jagger wrapped in a veil is even weirder, a sure sign the louche rock'n'roll of 'Exile…' has been shelved, for now at least. David Bowie was so taken with Peellaert's work that he got him to do 'Diamond Dogs' and rushed it out four months before the Stones got their act together.
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The Glimmer Twins also the name they produced the album under hogged this shot from US photographer Hiro, with Bill Wyman looking on lugubriously. Images of Raquel Welch, Marilyn Monroe and Lucille Ball excited some legal action, leading to a revised version with the offending faces lopped off. It was the 80s, you see. It was time to get hi-tech. That's Mick, of course, under all those tattoos, an unwitting prototype for models that appeared in a Duran Duran video for the following five years.
The album, a collection of odds, sods and outtakes, kicked up the Stones's biggest hit in years in 'Start Me Up'.
Strategically placed stickers on the lurid cover suggested the latter, but when they were peeled off the vinyl version they just revealed more shapes beneath. Shot by Annie Liebovitz — but let's not blame her; everything was like this in — it's an iris-shredding day-glo smear of capitalist 80s champagne-swilling excess that probably singlehandedly forced the Stones into a re-think of sound and image.
Not just in rediscovering a largely unadorned Stones rock sound — one that didn't chase fashion — but also in slapping a plain, distinguished sleeve on the thing. The classy simplicity of the cover art heralded a new dawn for the band, a new era with fewer pairs of shocking pink slacks.
His are usually real expensive. That's an Assyrian lion on the cover, for all you big cat experts out there. To drive home the news that megabucks were being thrown at this, the CD came in a special limited edition brocade-effect slipcase, proving some of those gaudy '80s excesses never quite fade away.
Why a Rolling Stones Record Sleeve Was Discussed in the Houses of Parliament…
All those Assyrian lions, all those voodoo anteaters, all those luminous trousers — it's all ditched in favour of a pretty much straight band image. They're a bit more cheerful than they were back at the beginning, but unimaginable success will do that to you, right? Home Photos. Click or tap to zoom into this image. This is an image 1 of This is an image 2 of This is an image 3 of This is an image 4 of This is an image 5 of This is an image 6 of This is an image 7 of This is an image 8 of This is an image 9 of This is an image 10 of There were two offending lines in all.
In "Start Me Up," the league took issue with a lyric applauding a woman's sexual prowess as being so powerful that it could reanimate one particular portion of a dead man's anatomy, while "Rough Justice" gave cause for concern with a line containing a reference to cocks — never mind that it was sort of used in a barnyard context.
Even given the Super Bowl's status as one of the year's biggest appointment-viewing programs and the league's need to satisfy the widest possible audience, nitpicking over vaguely profane Stones lyrics seemed like pretty minor stuff. At the time, however, the NFL wasn't willing to take any chances: two years before, they'd found themselves facing a whirlwind of criticism after a halftime show featuring Janet Jackson and Justin Timberlake ended with Jackson's exposed breast.
The Stones didn't put up too much of a fuss, agreeing to have singer Mick Jagger 's mic dialed down during those particular lines, but they made their displeasure known after an NFL spokesperson alleged that not only was the band aware they'd be censored, but they were "fine with it.
There were many many conversations back and forth and the band clearly was not happy about it. Of course, as Stones fans are aware, the Super Bowl was far from their first brush with television censorship.
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In fact, they were famously forced to alter the lyrics to their single "Let's Spend the Night Together" during a Jan.
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