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dcba
"I guess this boot gets one or two listens and then will be forgotten."
I agree with you but this TW is a testament to the Stones's musicanship : not a bum note from anyone, and a fantastic groove from the boys. No tape edit or Pro-tools
needed.
Someone (Don Was?) said with the Stones you have to constantly keep the tapes rolling cos any single take might be the "keeper" take.
This boot is the proof of this claim.
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Mathijs
I don't know exactly what you mean, but most of these versions are not demo version but half-finished tracks, with some overdubs already in place.
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Mathijs
I don't know exactly what you mean, but most of these versions are not demo version but half-finished tracks, with some overdubs already in place.
yes, I think most of the tracks are in fact the same basic tracks as on the finished album, as on Monitor Mixes. Which matches the Stones' process since (at least) the 70s--to play the song until they get a take--or just a five-minute stretch--that "grooves," then use that take as a basis for shaping and editing the final track, rather than redoing the song later.
I'm impressed with the "new" songs, too. But overall, and this is something Chris Fountain mentioned on another thread, I'm struck with the predominantly R&B leaning of the set of songs. Of course this will always be an element of the band's sound, but it stands out here coming after Undercover (more dub and rock) and Dirty Work (hard rock with a bit of R&B, too)--and even more so when compared to the grab bag of retread styles found on the 90s albums and the cartoonish blooze rock of most of ABB. As I remember the contemporary reviews of Steel Wheels, they all said the usual blather about "whipsaw guitars" and "churning rhythms," as if it had to be another attempt at Exile. The overproduction at the mixing stage brought the sound closer to the pop mainstream, which ironically was heavily R&B-Jacksons influenced at the time, but in a very watered-down, thinned-out way.