Re: Hey DOXA
Date: November 25, 2012 16:44
Doxa, you are the main reference to a post that I somewhat delayed wrote on “One More Shot”. However, too little of the resulting possible post was related to the song itself. I abstained from posting it. Now I found reason to post it here with the hope to inspire you to make an answer if you want to. (The two last and added paragraphs are directly addressed to Doxa.)
My first listenings to «One More Shot» were rather sceptical. However, that initial mood has changed.
In a way, as a memory of first hearings I still think that few if any Stones songs have had that much of cliches , that is, the band’s own cliches. But after some hearings, and that is really the proof of the pudding, one senses (anyway I did and I read about the similiar reception from many other posters), that the band is able to give life and vitality to the cliches. And as I gradually am learning to know the song, the strong impression of cliches has started to give way to the experience of the song itself. In some way, we have got a glimpse into the factory of making Stones songs. One can sense the origin in the workaround of many other songs’ elements, but now turned round, twisted, drawn and stretched. Then initial clichés such worked on are thrown into another dimension, and the impression of those clichés are replaced by the specificity of a new song. As an answer to an obvious objection: The difference from the past is that then we had not heard those songs, the elements of which enter into a new song. However, more and more over time, we have been exposed to those original songs before.
In the past and up to the present, since those years when the band was a primary band in defining what rock was to be, they have to a certain extent followed two so to speak stategies. One has been to, more or less like a sponge, to absorb music trends of the moment and recreate those impulses as their own music within and as variation to what in the preceding defining years had developed into a Rolling Stones trade mark music. Among fans that to some extent divide between those not allowing the band to deviate too much from their trademark, and those who have treasured development even if the level has some times been lower than during the defining years, the latter fans have naturally been accepting this strategy.
Another strategy, not necessarily deliberate, has been to seek back to a kind of modernized version of their own earlier music as a starting point for a new development out from there, The before mentionned latter part of the fans have not met that strategy with much enthousiasm. They have rather interpreted it in a certain scheme, My designation for those fans in this context is «Las Vegas era»-theorists (as you know, Doxa.). Strangely enough, also fans of the former category, in their own disappointments of their expectations, have taken that epithet to their hearts even if they do not share the same attitude. Because they demand great songs that do not imply change of what they regard as essentials, but change is what they for a long time already have had. Then relatively good output from the alleged Las Vegas period has been met with comparative hostility from fans of both camps. I acknowledge that rather good Stones music from this period could have been (even) better had the band received interest for the new output from the masses of for a short time returned to fanship-buyers in connection with their tours, instead of these fans craving the warhorses from their authentic fan days in their past. Shorter periods of passivity might have come about as well with real interest shown towards new material. Besides, a better cooperative spirit between Jagger and Richard could have contributed to better music, too.
With the seemingly not preconceived inspiration to celebrate the band’s 50 years existence and a more spontaneous reborn ambition, the band on this occation seems to have chosen a tactic of less is good. Where «Doom and Gloom» emerges then as music both of today and with a certain family resemblance with «Street Fighting Man», «One More Shot» on the surface emerges at first directly as a retro Rolling Stones rock song. (“Street Fighting Man” itself providing one of the outspring elements.) However, in the same manner and at same time as cliches are vitalized, seeming retro music, in my outlook of it anyhow, does not end up as retro music. Instead a version of the second strategy comes to effect. It is one where the Stones choose as a new and redefining starting point and as working model, some parts of their own transition from the string of singles that they had in the late ‘60s and the first ‘70s AND their ‘68-72 albums. As that would be more than demanding. I hasten to add that this is said as to type and style of music, not as an assertion of a special level of quality. If this holds true, which only a new album can verify or falsify, this strategy might now provide for not necessarily their best output ever, but possibly all the same a late comparative peak of their career. All which after all would not be bad.
Of the songs I hold «Doom And Gloom» to be the important one. My reception of «One More Shot» is to some degree influenced by the first song. For an oldfashioned single release, to me it would have been obvious that «Doom and Gloom» is the A-side and «One More Shot» the B-side, very good as such.
The post completed (with only a few additions to the original withheld post), I have to say, Doxa, among the outlook that you provide, you are the one that make “Las Vegas era” something more than a label. As an intellectual, you have formulated it as a theory. Of course, theories aspire to catch aspects of truth. However, truth is not given. In my perspective: We don’t reconstruct the truth, we construct the truth, or maybe rather truths on a subject matter as this. That does not mean that any interpretation can meet more or (sometimes) less given empirical details. As such, it is most stimulating, and I have to say sometimes enraging, to read your exposition of that theory. As a reader and writer only now and then of IORR, I am utterly opposed to that theory. Because I am a holder of the judgement and view that a multi peak perspective on the band’s career is the relevant one. I value output that the band has had, following both strategies that I have described. The important thing to say to you, Doxa, I love to read points of view that constitute a theoretical approach built in them. That has to me applied to politics in the past, that applies to music and soccer now. Your trade mark as IORR-poster is that you are a Rolling Stones theorist. That does not mean without a temper, like the rest of us. And I know that theorists might explode, subjected to impulses others than other people react on, and that may seem trifling to them.
I do think you have a mission here, Doxa, that you yourself have liked to have. A mission that you possibly will miss, unless you can better use spare time on other kinds of activity or other media. In that case I think that to almost all posters you will not lose respect in going back on your word to quit. However, feel free to do as you most wish.
Edited 2 time(s). Last edit at 2012-11-25 19:18 by Witness.