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WeLoveYou
PMS is a nice track, refreshing to listen to. The drums and bass are great. If they carry on recycling old tracks like this they'll be onto a winner.

I was a little disappointed with Mick Taylor's guitar playing. I was expecting something more than this standard rock soloing, although there are some good bits here and there. I'm glad he's on the track though - it's cool he's playing with the Stones again! I wonder what other tracks he played on?

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NICOS
Just heard the song in my car on Radio2 NL

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Doxa

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backstage
the song wasnt up to par back then, and it still isnt!!

Yeah, it could be so but there are other ways to look at it...

It coul've been the case - like mentioned by many - that is resembles too much "Tumblin' Dice" or some other song and it didn't have a natural place in the album. And then they just forget it.

But there have been songs that didn't make certain album but did some other album afterwards. In fact, EXILE has "left-overs" from LET IT BLEED and STICKY FINGERS ("Shine A Light", "Loving Cup"). And then we have TATTOO YOU, an album made of out-takes. I think the reason to not include "Worried Bout You" to BLACK&BLUE was simply the reason that there were alredy too many slow ballads there ("Memory Motel", "Fool to Cry"). But I think it is a very strong song.(The same kind of thing can be said of "Tops" and "Waitin On A Friend" for not making GOATS HEAD SOAP that already had "Winter", "100 Years Ago", "Coming Down Again" and "Angie" in it. Now that's what I call a competetion!)

And if we forget the beautiful perfectness of EXILE and start speculate with the possibility that, say, a cut like "Turd On The Run", "Wanna See His Face" or "Casino Boogie" would not have made the album and would be instead released now as a left-over, how would we view them NOW? Are they really so strong cuts taken by themselves, out of their original context? My hint is that they are not. If someone claims that these are "strong songs" I think one is just appreciating the great wholeness of EXILE in where those songs do have a function. (This was way before the faceless collection of all the songs they somehow came up in a half-minute that was to be called A BIGGER BANG.)

So my take is that there are songs perhaps made for every Stones album (pace ABB ) that are not released because they are "too poor" but only because they didn't have a natural place or a function in that given album. The existence of TATTOO YOU is the best argument for that. Another question is how much they were "together" and how much needs to be worked to finish them. The Stones seemingly only finish the songs that ARE going to make the album and leave the others to vaults.

- Doxa

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LastStopThisTown
It's weird, but to me it just sounds like a newly recorded track - am struggling to find that 1972 sound on any of the instruments...

How much of this is really Exile period Stones??

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Doxa

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backstage
the song wasnt up to par back then, and it still isnt!!

Yeah, it could be so but there are other ways to look at it...

It coul've been the case - like mentioned by many - that is resembles too much "Tumblin' Dice" or some other song and it didn't have a natural place in the album. And then they just forget it.

But there have been songs that didn't make certain album but did some other album afterwards. In fact, EXILE has "left-overs" from LET IT BLEED and STICKY FINGERS ("Shine A Light", "Loving Cup"). And then we have TATTOO YOU, an album made of out-takes. I think the reason to not include "Worried Bout You" to BLACK&BLUE was simply the reason that there were alredy too many slow ballads there ("Memory Motel", "Fool to Cry"). But I think it is a very strong song.(The same kind of thing can be said of "Tops" and "Waitin On A Friend" for not making GOATS HEAD SOAP that already had "Winter", "100 Years Ago", "Coming Down Again" and "Angie" in it. Now that's what I call a competetion!)

And if we forget the beautiful perfectness of EXILE and start speculate with the possibility that, say, a cut like "Turd On The Run", "Wanna See His Face" or "Casino Boogie" would not have made the album and would be instead released now as a left-over, how would we view them NOW? Are they really so strong cuts taken by themselves, out of their original context? My hint is that they are not. If someone claims that these are "strong songs" I think one is just appreciating the great wholeness of EXILE in where those songs do have a function. (This was way before the faceless collection of all the songs they somehow came up in a half-minute that was to be called A BIGGER BANG.)

So my take is that there are songs perhaps made for every Stones album (pace ABB ) that are not released because they are "too poor" but only because they didn't have a natural place or a function in that given album. The existence of TATTOO YOU is the best argument for that. Another question is how much they were "together" and how much needs to be worked to finish them. The Stones seemingly only finish the songs that ARE going to make the album and leave the others to vaults.

- Doxa

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straycatuk
Did we really want a collection of instrumental jams.

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straycatuk

I really tried to like Rough Justice,ASMB,SOL,etc. but failed.

This one grows on me with every listen.

scuk

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kissinc***incannes
actually i think "turd on the run" and "casino boogie" are two of the kinds of songs which makes EOMS such a special album. that "off the cuff", almost tossed off nature of those two tracks really make them special. they capture that immediacy inherent on EOMS. "turd on the run" in particular is really under appreciated-a country blues shuffle mainlined on speed.

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kleermaker

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kissinc***incannes
actually i think "turd on the run" and "casino boogie" are two of the kinds of songs which makes EOMS such a special album. that "off the cuff", almost tossed off nature of those two tracks really make them special. they capture that immediacy inherent on EOMS. "turd on the run" in particular is really under appreciated-a country blues shuffle mainlined on speed.

I think Casino boogie can stand on its own. Turd on the run however is okay in the context of the album.

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kissinc***incannes
i think it's the title that probably contributes part of why you think that because i've always thought it's sound set at least part of the template for the future cowpunk sound and music style of bands like the Beat Farmers, Supersuckers, Jason and the Scorchers, et al.

it might just be mick's best harp work on a stones album, that and nicky's piano drive the song like a freight train rushing by at an intersection. plus it features an acoustic upright bass!

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kleermaker

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kissinc***incannes
actually i think "turd on the run" and "casino boogie" are two of the kinds of songs which makes EOMS such a special album. that "off the cuff", almost tossed off nature of those two tracks really make them special. they capture that immediacy inherent on EOMS. "turd on the run" in particular is really under appreciated-a country blues shuffle mainlined on speed.

I think Casino boogie can stand on its own. Turd on the run however is okay in the context of the album.

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schillid

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(1) I like it. Has that distinctive Stones sound

So do I .

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(2) After subsequent listens, (IMO) it sounds like Mick Jagger is trying too hard to sound like Mick Jagger

Mick's voice sounds too high indeed, as i wrote before on this board & i don't like the Lisa or whoever choruses .

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(3) Happy that Taylor is involved.

Written by Mick Jagger         Vocals, Guitar &
and Keith Richards.            Percussion: Mick Jagger.
Published by Promopub B.V.     Guitar: Keith Richards.
                               Drums: Charlie Watts.
Produced by Jimmy Miller,      Bass: Bill Wyman.
Don Was & The Glimmer Twins.   Piano: Nicky Hopkins.
Engineered by Andy Johns,      Guitar: Mick Taylor.
Glyn Johns & Joe Zaganno.      Saxophone: Bobby Keys.
Additional Engineering and     Background Vocals:
Editing by Krish Sharma.       Lisa Fischer &
Mixed by Bob Clearmountain.    Cindy Mizelle.

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Massimo68

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LastStopThisTown
It's weird, but to me it just sounds like a newly recorded track - am struggling to find that 1972 sound on any of the instruments...

How much of this is really Exile period Stones??

Mmmm...I think less than 30% of the tracks used for the production of this song were recorded in the 70's.

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R
My guess is PMS began life as a four minute segment of a Taylor/Watts/Wyman jam recorded in the basement at Nellcote while Keith was on a nod and Mick was galavanting around Europe with Bianca. I don't hear much evidence of Keith at all. The vocals and lyrics are obviously new while the basic track appears to be Charlie and Bill backing a continuous Taylor solo. It sounds to me like Taylor's only contribution, to THIS track anyway, occurred in 1972.

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VoodooLounge13
I've still not heard it!

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LieB

My guess is PMS began life as a four minute segment of a Taylor/Watts/Wyman jam recorded in the basement at Nellcote while Keith was on a nod and Mick was galavanting around Europe with Bianca. I don't hear much evidence of Keith at all. The vocals and lyrics are obviously new while the basic track appears to be Charlie and Bill backing a continuous Taylor solo. It sounds to me like Taylor's only contribution, to THIS track anyway, occurred in 1972.

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Doxa

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backstage
the song wasnt up to par back then, and it still isnt!!

Yeah, it could be so but there are other ways to look at it...

It coul've been the case - like mentioned by many - that is resembles too much "Tumblin' Dice" or some other song and it didn't have a natural place in the album. And then they just forget it.

But there have been songs that didn't make certain album but did some other album afterwards. In fact, EXILE has "left-overs" from LET IT BLEED and STICKY FINGERS ("Shine A Light", "Loving Cup"). And then we have TATTOO YOU, an album made of out-takes. I think the reason to not include "Worried Bout You" to BLACK&BLUE was simply the reason that there were alredy too many slow ballads there ("Memory Motel", "Fool to Cry"). But I think it is a very strong song.(The same kind of thing can be said of "Tops" and "Waitin On A Friend" for not making GOATS HEAD SOAP that already had "Winter", "100 Years Ago", "Coming Down Again" and "Angie" in it. Now that's what I call a competetion!)

And if we forget the beautiful perfectness of EXILE and start speculate with the possibility that, say, a cut like "Turd On The Run", "Wanna See His Face" or "Casino Boogie" would not have made the album and would be instead released now as a left-over, how would we view them NOW? Are they really so strong cuts taken by themselves, out of their original context? My hint is that they are not. If someone claims that these are "strong songs" I think one is just appreciating the great wholeness of EXILE in where those songs do have a function. (This was way before the faceless collection of all the songs they somehow came up in a half-minute that was to be called A BIGGER BANG.)

So my take is that there are songs perhaps made for every Stones album (pace ABB ) that are not released because they are "too poor" but only because they didn't have a natural place or a function in that given album. The existence of TATTOO YOU is the best argument for that. Another question is how much they were "together" and how much needs to be worked to finish them. The Stones seemingly only finish the songs that ARE going to make the album and leave the others to vaults.

- Doxa

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whitem8
Actually I see Plundered and the other outtakes as Jagger finding peace and compromise with his aversion to dig up the past. He is always wanting to move forward...yes when presented with Tattoo You he embraced it and I think was quite surprised by how successful it was. But also I feel this bugged him, and he had a hard time reconciling the fact that the outtakes were better received than a lot of the previous stuff. And he goes out of his way to say how much he doesn't like to drudge up the past. So now he has embraced the re-release of Exile and also felt inspired to go into the studio and add a contemporary voice to the past.
And fans should not underestimate the importance of Mick calling MT in to participate. He seems to have come to peace with his feelings of betrayal, and Keith seems to have gotten over his own insecurities to collaborate with MT again.
So again, like Tattoo You, these new releases demand to be viewed as new. And inspired by EOMS. Again, the original is there for us all to covet and revel in. And the outtakes are our "new" album that many fans have been clamoring for. Ok, so MJ, MT, and Keif can't be expected to be like they were in 72! Get over it, time moves on, but it is thrilling to hear them wanting to add to something they left in the can for so long. For me, listening to all the snippets of the upcoming release is exciting and interesting. And yes a lot of it sounds fantastic!
What is clear though is you can't change a fan's mind on what they like and dislike, but it does get a bit old when it seems like the first instinct is to criticize and wish for what could have been. That is the story of the Stones! They always do it their way, and that is why they are still here, and have made history being the longest successful band from the 60's.
I guess I am happy to hear this new stuff, and I don't need it to be perfect, or sound like it would fit neatly into EOMS. It really shouldn't! EOMS was their statement in 1972, and these "new/old" tracks are their new statement. I view them as separate from EOMS. Their new album with Mick Taylor!