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The Stones left for a tour of Australia the following day. [2] The song's lyrics talk of the singer's relationship with a high society girl, disparaging the lifestyle much in the same way that "19th Nervous Breakdown" would with a more up-tempo feel. The title derives from the saying "If you play with fire, you will get burned."
The album is the best selling of the numerous Decca/ABKCO releases after the Rolling Stones lost control of their pre-1971 catalogue to their former manager Allen Klein. As with all of such releases, the Stones had no control over the collection or its release.
The Rolling Stones No. 2 (UK) The Rolling Stones, Now! (US) Jerry Leiber/Artie Butler: Jagger "Down in the Bottom" 1995 2016 Totally Stripped: Willie Dixon Jagger "Down in the Hole" 1979 1980 Emotional Rescue: Jagger/Richards Jagger "Down the Road a Piece" 1964 1965 The Rolling Stones No. 2 (UK) The Rolling Stones, Now! (US) Don Raye: Jagger ...
Nanker Phelge (also known as Nanker-Phelge) was a collective pseudonym used between 1963 and 1965 for several Rolling Stones group compositions. [1] According to manager Andrew Loog Oldham the 'Nanker Phelge' credit was mostly used for tracks where the origin lay in blues standards from the 1950s they heard when visiting the Chess studios in Chicago.
Play with Fire, by The Reign of Kindo, 2013 "Play with Fire" (Hilary Duff song), 2006 "Play with Fire" (Rolling Stones song), 1965 "Play with Fire", a song by Kendrick Lamar from C4 "Play with Fire", a song by Nico Santos
In the lawsuit, Abkco claims that the song was obviously derived from The Rolling Stones' "Play with Fire", to which Abkco owns the rights. [34] [35] Subsequently, "Playing with Fire" was removed from the track list of Tha Carter III on all online music stores and replaced with the David Banner produced track, "Pussy Monster". [36] [37] [38]
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"Lady Jane" is a song recorded by the English rock band the Rolling Stones. Written by the group's songwriting duo of Mick Jagger and Keith Richards, the song was initially included on the band's 1966 album Aftermath. [6] The song showcases Brian Jones' instrumental incorporation of baroque rock as it was beginning to be introduced. [3]