Undercover - The Rolling Stones Mailing List

HOW TO MAKE A GOOD DOUBLE STUDIO ALBUM

1. You should always keep in mind your ultimate goal. Of course you would like to earn zillions but the real objective of a double studio abum is to turn itself into a classic, preferibly regarded as your best by hard-core fans.
2. First you have to decide how to start it. There are two possible approaches: begin with a song which is representative of your style, to make fans sure that after all is a (your name) album (White, Graffiti, Exile) vs. beginning with a downright weird or unexpected track, to warn that this is something special (E. Ladyland, Mellon)
3. Surprise the listener. Include songs in every musical style that is hardly thought of as yours.
4. A good thing is making record sides seemingly thematic (White Album with all the songs about animals in side B and most hard rockers in side C, Exile with side A all rocking and then B mostly acoustic)
5. Be sure that no song is released in single form or that there are only two of three songs suited for radio and/or compilations. This way you have a record with twenty songs of which only three are known, and known as killers. No doubt you are going to raise interest.
6. The end of the album is also important. The last song should be intended to bring the boys back home (Exile, Graffiti, E. Ladyland) although it could be saved for a lyrical ending (White). But it's of the UTMOST importance that the song or songs before the last one are weird in some way, a gospel song, a sonic experiment, an acoustic blues with mandolin, a Dylan cover, a jam with Stu, you name it.
7. If you never use orchestral arrangements, do use them (Mellon Collie). If you do, don't stop (White). If you are not going to use them put simply some unusual instruments (Electric Ladyland), or don't give a damn (Exile), or do it all at once (Graffiti).
8. How to write all the songs needed? Possible approaches:
   • Not a single member of the group wants his songs out (White)
   • Only one writes but he's a dangerous egomaniac (Mellon, Ladyland) (usually this last type is called 'genius')
   • You are so relaxed that songs pour out (Exile)
   • Or you fill it with songs discarded from earlier sessions (Graffiti)
9. A possible approach to the commercial side would be to convince everybody that this is your best album. People are imitative and soon it will be politically incorrect to like any other album better.
10. The aforementioned strategy has a little flaw. If your buyer is running sort of money and is convinced about the supreme quality of your album, (s)he might go to the shop, see that it's double, and so, more expensive, and buy another one, because he knows the double is your best and sooner or later he'll get it. If his/her financial problems keep existing, this course might go on infinitely. If, on the other side, half the people love it and say it's a classic and the other half loath it and label it as 'the beginning of your downfall' (White and Graffiti for example), your buyer is no doubt going to be compelled to listen, if only to have a position of his/her own.
11. Be sure that some of the strongest, or more interesting songs are never played on the subsequent tour. ('The Rover' or 'Come On', for example). Rescue them, though, when you are old and are doing a big sell-out stadium tour that could be your last (Page and Plant doing 'The Wanton Song' in their last tour, or McCartney doing 'Birthday' in Knebworth 90, or the Stones doing 'Shine a Light' on Stripped). You are certain to make eyes water.
12. Forget this all and simply rock on :)

P.D. If anybody makes a succesful double studio album following these instructions don't forget to give me a HUGE credit in the sleeve (and some bucks if you wish)