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StonesTod
they nailed on the '85 tour, i thought. can't believe it has disappeared from the set sincce...
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punkfloydQuote
StonesTod
they nailed on the '85 tour, i thought. can't believe it has disappeared from the set since...
wut?
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ryanpow
I thought Citadel sounded tighter on the '86 Euro leg of the tour.
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StonesTodQuote
ryanpow
I thought Citadel sounded tighter on the '86 Euro leg of the tour.
perhaps, but when the london philharmonic joined them for the instrumental break on the british jaunt, it lost all credibility....
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WeLoveToPlayTheBluesQuote
StonesTodQuote
ryanpow
I thought Citadel sounded tighter on the '86 Euro leg of the tour.
perhaps, but when the london philharmonic joined them for the instrumental break on the british jaunt, it lost all credibility....
You obviously missed the secret 1987 show - the end of the tour. They even played a show for Coke's new formula party - a bit late, as the Stones are wont to do with trends.
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Blue
An Indescribably unique tune exemplifying perfectly the musical atmosphere of 1967....good job Stones, from one of the minority who likes TSMR so much better than Sgt. Pepper, with no disrespect to the Beatles, just a matter of taste. Like, like, LIKE "2000 Man" also, those lyrics were very prophetic, way ahead of their time.
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StonesTodQuote
Blue
An Indescribably unique tune exemplifying perfectly the musical atmosphere of 1967....good job Stones, from one of the minority who likes TSMR so much better than Sgt. Pepper, with no disrespect to the Beatles, just a matter of taste. Like, like, LIKE "2000 Man" also, those lyrics were very prophetic, way ahead of their time.
well, a song with that title written in '67 would kinda sorta hafta be ahead of its time, no?
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DandelionPowderman
Great, great track! The embroyo of what was to become Keith's signature playing style - only this is meaner and heavier than that
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DoxaQuote
DandelionPowderman
Great, great track! The embroyo of what was to become Keith's signature playing style - only this is meaner and heavier than that
Exactly. Keith is really getting there somewhere, as we can in hindsight say. There is much more, say, "Jumpin' Jack Flash" than "Sing This All Together" in it.
Anyways, "Citadel" represents very much what it so important and valuable in SATANIC MAJESTIES experiment - no, I can nevr call it a masterpiece, but I see the album as a neceassary delopment in getting rid of teh old pop format they mastered in AFTERMATH and BETWEEN THE BUTTONS. Here they free their minds and start really start digging the whole idea of a song and a form. Most of it is kind of deconstruction - call it psychedelia if you like - but I think that was kind of needed to in order to find the focus, maturity and tightness they achieved in BEGGARS BANQUET. Getting rid of ALO, and trusting 'blindly' their own artistic muse was I guess necessary, even though a pro produder like Jimmy Miller was needed in order to find the right track again. But shit, "Citadel" with "2000 Man", "She's A Rainbow" and "2000 Light Years From Home" are are simply phenomenal songs as they are, and almost all the tracks have some incredibly intersting and poteantial features in them that makes them rewarding and fascinating listening again and again. SATANIC MAJESTIES has depth in it that most of their catalog can only dream of.
I really love the atmosphere of "Citadel" - there is something I find so unique Stones-like in it that I would much rather listen to it than anything on SGT. PEPPER (which says more of me than of the greatness of the music). Maybe it is that mystique feeling of danger I find so fascinating.
- Doxa
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StonesTod
they nailed on the '85 tour, i thought. can't believe it has disappeared from the set sincce...
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Silver Dagger
Doxa is correct in his analysis. The song has real atmosphere, an other worldly eeriness that actually pervades the whole album. This is what always made TSMR so fascinating for me, especially as a kid when I first saw the cover with all its myriad colours, and totally spaced out images.
It's a musical science fiction fantasy - with lyrics borne right out of Forbidden Planet, It Came From Outer Space and other classic sci-fi movies which so captivated the baby boomer generation.
And there's a really unusual bell-like shimmering sound on Keith's guitar. Never worked out how he achieved but it sounds brilliant and he never quite replicated it although there are echoes of it on Jigsaw Puzzle.
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DandelionPowdermanQuote
Silver Dagger
Doxa is correct in his analysis. The song has real atmosphere, an other worldly eeriness that actually pervades the whole album. This is what always made TSMR so fascinating for me, especially as a kid when I first saw the cover with all its myriad colours, and totally spaced out images.
It's a musical science fiction fantasy - with lyrics borne right out of Forbidden Planet, It Came From Outer Space and other classic sci-fi movies which so captivated the baby boomer generation.
And there's a really unusual bell-like shimmering sound on Keith's guitar. Never worked out how he achieved but it sounds brilliant and he never quite replicated it although there are echoes of it on Jigsaw Puzzle.
I take it you mean Stray Cat Blues?
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Silver DaggerQuote
DandelionPowdermanQuote
Silver Dagger
Doxa is correct in his analysis. The song has real atmosphere, an other worldly eeriness that actually pervades the whole album. This is what always made TSMR so fascinating for me, especially as a kid when I first saw the cover with all its myriad colours, and totally spaced out images.
It's a musical science fiction fantasy - with lyrics borne right out of Forbidden Planet, It Came From Outer Space and other classic sci-fi movies which so captivated the baby boomer generation.
And there's a really unusual bell-like shimmering sound on Keith's guitar. Never worked out how he achieved but it sounds brilliant and he never quite replicated it although there are echoes of it on Jigsaw Puzzle.
I take it you mean Stray Cat Blues?
Actually both of the songs Dandy. I know what you mean, the fade out of Stray Cat Blues especially has that crazy jangling sound. But I mean the overall flightiness and atmospherics of his guitar on Jigsaw Puzzle. It's got a kind of Syd Barrett quality. Lots of high end playing.
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DandelionPowdermanQuote
Silver DaggerQuote
DandelionPowdermanQuote
Silver Dagger
Doxa is correct in his analysis. The song has real atmosphere, an other worldly eeriness that actually pervades the whole album. This is what always made TSMR so fascinating for me, especially as a kid when I first saw the cover with all its myriad colours, and totally spaced out images.
It's a musical science fiction fantasy - with lyrics borne right out of Forbidden Planet, It Came From Outer Space and other classic sci-fi movies which so captivated the baby boomer generation.
And there's a really unusual bell-like shimmering sound on Keith's guitar. Never worked out how he achieved but it sounds brilliant and he never quite replicated it although there are echoes of it on Jigsaw Puzzle.
I take it you mean Stray Cat Blues?
Actually both of the songs Dandy. I know what you mean, the fade out of Stray Cat Blues especially has that crazy jangling sound. But I mean the overall flightiness and atmospherics of his guitar on Jigsaw Puzzle. It's got a kind of Syd Barrett quality. Lots of high end playing.
Yep, uniqe guitar sound (in both cases).
Songs like All Sold Out and Child Of The Moon have that sound as well. Partly, the electric part of 2000 Man, too.
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Silver DaggerQuote
DandelionPowdermanQuote
Silver DaggerQuote
DandelionPowdermanQuote
Silver Dagger
Doxa is correct in his analysis. The song has real atmosphere, an other worldly eeriness that actually pervades the whole album. This is what always made TSMR so fascinating for me, especially as a kid when I first saw the cover with all its myriad colours, and totally spaced out images.
It's a musical science fiction fantasy - with lyrics borne right out of Forbidden Planet, It Came From Outer Space and other classic sci-fi movies which so captivated the baby boomer generation.
And there's a really unusual bell-like shimmering sound on Keith's guitar. Never worked out how he achieved but it sounds brilliant and he never quite replicated it although there are echoes of it on Jigsaw Puzzle.
I take it you mean Stray Cat Blues?
Actually both of the songs Dandy. I know what you mean, the fade out of Stray Cat Blues especially has that crazy jangling sound. But I mean the overall flightiness and atmospherics of his guitar on Jigsaw Puzzle. It's got a kind of Syd Barrett quality. Lots of high end playing.
Yep, uniqe guitar sound (in both cases).
Songs like All Sold Out and Child Of The Moon have that sound as well. Partly, the electric part of 2000 Man, too.
You're a guitarist Dandy. How do you get that kind of trebly ringing sound. What guitars, amps and settings would he have used?
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flilflam
I think it is terrible. That era, with the ridiculous garb and attempts to copy the sounds of the Beatles' Sergeant Pepper, is the lost era of the Stones, as far as I am concerned. I can only snicker when I force myself to listen to it. I counted 3 chords in the entire song.
Oh well, to each his own.
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Silver Dagger
Doxa is correct in his analysis. The song has real atmosphere, an other worldly eeriness that actually pervades the whole album. This is what always made TSMR so fascinating for me, especially as a kid when I first saw the cover with all its myriad colours, and totally spaced out images.
It's a musical science fiction fantasy - with lyrics borne right out of Forbidden Planet, It Came From Outer Space and other classic sci-fi movies which so captivated the baby boomer generation.
And there's a really unusual bell-like shimmering sound on Keith's guitar. Never worked out how he achieved but it sounds brilliant and he never quite replicated it although there are echoes of it on Jigsaw Puzzle.
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Title5Take1
From Andy Warhol's book POPISM: THE WARHOL 60'S by Andy Warhol and Pat Hackett, p. 250-51:
WARHOL: "Candy Darling...and Jackie started coming by Max's a lot—they weren't getting ignored and put upstairs any longer. In November the Stones' album Their Satanic Majesties Request was just out. Candy and I were in the back room at the round table together, and when CITADEL came on the juke box, she said, `Oh, listen. This is the song Mick wrote about me and my girlfriend Taffy. Listen to the words!' Taffy was another drag queen around town, but I hadn't met her yet. Candy didn't care one bit about rock and roll—her mind was always back in the thirties and forties and the cinema fifties—so it was really strange to hear her use her Kim Novak voice to talk about rock lyrics. Since I could never understand a thing over those really loud sound systems, I asked her what the words were saying.
"`Here it comes now! Listen! "Candy and Taffy/Hope you both are well/Please come see me/In the Citadel." Did you HEAR it? We met them in the Hotel Albert.' The Albert was a cheap hotel down on 10th Street and Fifth Avenue. `We were on the floor above them and we dangled a bunch of grapes down on a string outside their window. You see, the Citadel is New York and the song is a message to US—Taffy and me.'
"`Then how come you didn't say hello to Mick that night at Salvation?'
"`I was too embarrassed.' Candy said, `because I can't tell those Stones apart. Which one is Mick?'"