Quote
phd
All this Super Heavy thing is ridiculous. To the level of "Life" : crap. W

but Jagger does not sing in any song - "Keith is impotent for some years now and does not want to take Viagra because he is afraid of side effects".
so do not compare - the shit like this book does not exist in the Universe

Super Heavy or not Super Heavy, Stones could learn to promote their music like fx. Super Heavy. The last many years, Stones pr. work has been completely amateurish.

[www.facebook.com]

Mick gives his own SuperHeavy review in his rap for "Energy":

I got the evidence, gonna cast our case for the best defense
We got tradition by erudition, we're not so afraid to experiment
Rush enough new beats, from the west to the east, from New York down to Surinam
So give it up. Put me down and... Hell! We'll overcome it!

Mick Jagger Talks SuperHeavy 'Egos,' the Rolling Stones' 50th Anniversary and Their Upcoming 'Some Girls' Reissue

Frank W. Ockenfels 3
Summer saw the enormous release of Kanye West and Jay-Z's 'Watch the Throne,' and autumn will get the genre-blending debut from SuperHeavy, the group consisting of Mick Jagger, Dave Stewart, Joss Stone, Damian Marley and A.R. Rahman. Mixing rock, reggae, soul, hip-hop, Indian and more, the band released its 'Miracle Worker' video last month and will drop its self-titled full-length debut on Sept. 20.

Spinner recently caught up with Jagger to discuss both his new band and his slightly more famous one. Check out the exclusive Q&A below to read about the singer's thoughts on the differences between the groups, his joy at not being the sole frontman, how he feels about seeing the Rolling Stones turn 50 and the band's plans for the 'Some Girls' reissue.

The project started with you and Dave Stewart. Why did you decide to bring in Joss, Damian and A.R.?

We were looking to do a record that didn't sound like anything we'd heard before, and we thought we'd do this musical mixture of people that would harmonize together yet bring things from musical places that we knew about and might have even dabbled in, people that specialize in different things and would bring different voices. Joss brings the female voice, obviously, and the English soul thing. We've worked with her before, so we knew her capabilities and that she was very easy to work with, and we knew we wanted to bring in another voice like A.R., who's a very sweet guy, super musical, but added a completely different dimension. The same with Damian.

So, [it was] people coming from different musical places but able to subsume their egos for a while and throw everything into the mix and hope something's gonna come out [laughs] because we didn't know what was going to happen. We didn't know if we would get songs. We wanted to make songs; we weren't interested in jams.

What was the songwriting process like with SuperHeavy compared to the Stones?

Well, songwriting is songwriting, you know what I mean? You can come at it from all different points of view. With the Stones, we do lots of different ways of songwriting. You've got the sort of "hope for the best" songwriting, where you turn up and you've got nothing, and you've got like writing everything completely demoed and then laying it on people, so I'm used to writing in very, very different ways.

I've written a lot of songs with Dave, so I knew that part of it. We purposely didn't write a lot of stuff first to sort of say, "OK, this is how this is gonna go." We wanted people to contribute, we wanted people to write, so we didn't have a lot prepared, which is always sort of worrying, because you may get nothing. But very quickly, on the first day, we got like six things. They weren't all finished, but they were very good ideas, and some of them were sort of finished songs, so we got this real good buzz, where you went from having absolutely nothing one minute and then you've got almost a finished record 15 minutes later. We missed out all these intervening periods of soul-examining lyric writing and demos and "do you like this?" and "should this be faster?" to almost a finished record with the voices on it, with A.R. singing in Hindi and Joss singing harmonies to me and a rap in the middle. So, your idea, or the germ of your idea, was very quickly realized, and that's a very exciting thing, because just writing songs where you've got nothing one minute and then suddenly you've got a song, melody and a lyric is great.

How was it for you not being the sole frontman?

Well, it's a lot easier for me, to be honest [laughs]. That's one of the things Dave sold me on in the beginning. He said, "You know, it won't be so hard for you, because you won't have to do everything all the time," and I said, "Yeah, right." But of course, you're present the whole time. When I wasn't singing I was playing the guitar, and when I wasn't playing the guitar, I was playing harmonica, and when I wasn't doing any of that, I was producing, and when wasn't doing that, I was making the tea.

But you know, I'm not singing all the time, so what I have to do is work out what harmonies I'm going to do and when Joss is going to sing. "OK, it's your turn, sing this, and now we sing the chorus." It's quite easy to do that with Joss, and yeah, it's fun not having to do the whole thing, but you can't abdicate responsibility. You have to be there.

The song 'Never Gonna Change' really stood out as a Stones-like ballad. How did that come about?

Dave starts playing this chord sequence, and I had two lines that I had written the night before as I was going to bed. I was seeing this image in my mind of this girl with very white skin painting her face, and I just wrote it in my book. Dave started playing this descending chord sequence, and I started singing these lines, and we made the song up on the spur of the moment. We did it in like two takes. That sort of things is fun, so I'm glad you liked that one.

In terms of age and success, you're the elder statesman of the group. Did it seem that way, or did the personalities all balance out?

I didn't really feel that, to be honest. The youngest person in the room is Joss, who's a serious soul music student, so it's not like a person I have to explain references to, explain who Aretha Franklin is. She knows it all. If you're working sometimes with very young people, they don't know anything like that, and you do have to explain references, but with Joss, she's not in that tradition. She's completely different, and she's the youngest person in the room. The rest of them, it's not really a generational thing. A.R. had never played in a band since he was at high school, so he found it I think slightly more difficult than anybody, joining in rather than only playing stuff that he created, but he soon quickly got on to it. Damian understands all my ancient reggae references. If I'd refer back to a Jamaican record of the early '70s when his father was even doing ska he would still know what that was.

So now that the record is coming out, have you discussed taking it on tour?

Yeah, we talked about doing some special shows for it. I don't think it's a band you'd want to go out on a 100-city tour with and do theaters, and everyone's very busy and got their own careers, so I think we'd be up for something if it seemed to fit.

What do you have planned with the Stones right now?

I just finished off doing all the outtakes for the 'Some Girls' album we're releasing at Thanksgiving. We did 'Exile,' we did a lot of different takes, a lot of different cuts that hadn't come out before, so we're doing the similar kind of thing with 'Some Girls,' so I've just been doing them because a lot of them weren't complete, so I had to complete them, and then we're gonna mix those and put them out for Thanksgiving. Then we talked about maybe what events are going to be going around for the 50th anniversary of the Rolling Stones. We don't really know the answer to that, but we talked about it a bit.

Does it blow your mind that the anniversary is coming up?

It sounds a lot of years to me. But you know, you're very lucky to have been doing it that long, so I guess I should be happy [laughs].

[www.spinner.com]

Did you guys notice that Warren People is very similar to Kow Tow? There is that passage starting at 1:16 in Warren People that sounds like a part in Kow Tow.

The only guitar solo we've taken note of so far is the tasty little soaring
thing on "Rock me gently". We'd be surprised if either Dave or Mick could pull
it off, even on a good day, so let the guessing commence. Is it Orianthi?





Our mantra: "Forget the hype, try to even forget the voices for a while, and
just listen to this freaking music, would ya?"

track talk: one day one night

(tom waits/sister morphine-like dissolute percussion and jangle)

(mick singing with the inner voice of a messed-up
maybe somewhat keith-like character)

one day, one night
you'll find, you'll see
i was right, you were wrong
you should never have abandoned me

this rotten cheap hotel
with a stale old smell
where the hell is the bell man,
did i call down downstairs, does anybody care?
send me a pack of those cigarettes please
make that two
one bottle of vodka
and one glass
the television doesn't seem to work so well
what a situation
what a situation

lock clock, flips by
so slow
somewhere i hear a crackly radio
shout out the news in spanish
how much longer can i languish?
think my appetite has vanished
feeling sorry for myself
i think i'm gonna go downstairs
i've got to clear my head

(damian suffering too)

one spliff, no light
me and my empty box of matches
and a half bottle of guiness
and one love, one life
plus no taxi budget means
must walk, no ride
if I'm to build my vibe tonight
that's right

(anne marie's lonely violin overwhelmed by even lonelier
arabesques from a large string section, then mick again.)

can anybody get a drink around here?
at least some music
out of the way
let me on this plane!

(now the guitars start banging, and joss joins mick for
the hard bluesy finish)

one day, one night, you'll find out what's right, you're gonna realize
one day, one night, you're gonna miss me,
there's gonna end up being some crying
yeah, what's the situation?
i want to avoid your confrontation
one day, one night, you're gonna wake up, wake up and cry
you're gonna break down and cry, sit down and cry
one day i swear, one night, i need to see you cry
i swear yeah you're gonna miss me
wish you're gonna, wish you're gonna
wish you're gonna never gonna ever wanna stop

(full stop)

Every day snippets posted on www.twitter.com/SuperHeavyNL of all 12 tracks!
check them out!

[www.paulinestroosnijder.com]

Quote
Posted by: nocomment ()
Date: September 13, 2011 16:45

track talk: one day one night

(tom waits/sister morphine-like dissolute percussion and jangle)

(mick singing with the inner voice of a messed-up
maybe somewhat keith-like character)

one day, one night
you'll find, you'll see
i was right, you were wrong
you should never have abandoned me

this rotten cheap hotel
with a stale old smell
where the hell is the bell man,
did i call down downstairs, does anybody care?
send me a pack of those cigarettes please
make that two
one bottle of vodka
and one glass
the television doesn't seem to work so well
what a situation
what a situation

lock clock, flips by
so slow
somewhere i hear a crackly radio
shout out the news in spanish
how much longer can i languish?
think my appetite has vanished
feeling sorry for myself
i think i'm gonna go downstairs
i've got to clear my head

(damian suffering too)

one spliff, no light
me and my empty box of matches
and a half bottle of guiness
and one love, one life
plus no taxi budget means
must walk, no ride
if I'm to build my vibe tonight
that's right

(anne marie's lonely violin overwhelmed by even lonelier
arabesques from a large string section, then mick again.)

can anybody get a drink around here?
at least some music
out of the way
let me on this plane!

(now the guitars start banging, and joss joins mick for
the hard bluesy finish)

one day, one night, you'll find out what's right, you're gonna realize
one day, one night, you're gonna miss me,
there's gonna end up being some crying
yeah, what's the situation?
i want to avoid your confrontation
one day, one night, you're gonna wake up, wake up and cry
you're gonna break down and cry, sit down and cry
one day i swear, one night, i need to see you cry
i swear yeah you're gonna miss me
wish you're gonna, wish you're gonna
wish you're gonna never gonna ever wanna stop

(full stop)

Amazing song. Especially the last minute.

Quote
mtaylor
Super Heavy or not Super Heavy, Stones could learn to promote their music like fx. Super Heavy. The last many years, Stones pr. work has been completely amateurish.

I dunno about the Stones PR. A lot is being done by the record company. Universal is trying hard, so in a sense:thank you. . But that doesn't only go for the SuperHeavy release. A lot of hard work is being done on the Some Girls release at the moment.

[www.paulinestroosnijder.com]

We can't really compare Universal's promotion of a reissue to a new release. You could make the point quite easily that Universal's promotional efforts are an improvement on 15 years of Virgin/EMI. Of course, Virgin/EMI seemed to have been an improvement on Columbia/CBS/Sony.

Quote
the juf

Quote
mtaylor
Super Heavy or not Super Heavy, Stones could learn to promote their music like fx. Super Heavy. The last many years, Stones pr. work has been completely amateurish.

I dunno about the Stones PR. A lot is being done by the record company. Universal is trying hard, so in a sense:thank you. . But that doesn't only go for the SuperHeavy release. A lot of hard work is being done on the Some Girls release at the moment.

The Bigger Bang pr. work was basically non-excisting

Quote
mtaylor

The Bigger Bang pr. work was basically non-excisting

Do you mean EMI? I can't speak for other countries, but Dutch EMI did a pretty good job PR wise. Even though it may look like non-existing , yet the album sold pretty well around the world.

[www.paulinestroosnijder.com]

Quote
nocomment
track talk: one day one night

(tom waits/sister morphine-like dissolute percussion and jangle)

(mick singing with the inner voice of a messed-up
maybe somewhat keith-like character)

one day, one night
you'll find, you'll see
i was right, you were wrong
you should never have abandoned me

this rotten cheap hotel
with a stale old smell
where the hell is the bell man,
did i call down downstairs, does anybody care?
send me a pack of those cigarettes please
make that two
one bottle of vodka
and one glass
the television doesn't seem to work so well
what a situation
what a situation

lock clock, flips by
so slow
somewhere i hear a crackly radio
shout out the news in spanish
how much longer can i languish?
think my appetite has vanished
feeling sorry for myself
i think i'm gonna go downstairs
i've got to clear my head

(damian suffering too)

one spliff, no light
me and my empty box of matches
and a half bottle of guiness
and one love, one life
plus no taxi budget means
must walk, no ride
if I'm to build my vibe tonight
that's right

(anne marie's lonely violin overwhelmed by even lonelier
arabesques from a large string section, then mick again.)
...

Ann Marie Calhoun's violin really adds something more to the sound of Super Heavy... By the way the rythm section is excellent too.

Quote
mtaylor

Quote
the juf

Quote
mtaylor
Super Heavy or not Super Heavy, Stones could learn to promote their music like fx. Super Heavy. The last many years, Stones pr. work has been completely amateurish.

I dunno about the Stones PR. A lot is being done by the record company. Universal is trying hard, so in a sense:thank you. . But that doesn't only go for the SuperHeavy release. A lot of hard work is being done on the Some Girls release at the moment.

The Bigger Bang pr. work was basically non-excisting

The Stones didnt exactly do much to promote the release themselves. Considering how many people saw them on their last tour, they performed at a sporting event with a massive worldwide audience and the fact that their tour grossed $550 million, they had ample opportunity to make it one of their biggest ever sellers.

A record company can only do SO much. If the band are going to blow the chance to promote a record by hardly playing any songs from it after a few months, and dont even have the common sense to include a copy of it with a concert ticket, then theyve only really got themselves to blame.

UMG did a brilliant job with the Exile reissue. To get a chart topping album out of a release that was 38 years old was remarkable. It augurs pretty well for their future releases.

I agree with Gazza that UMG did an amazing job with the promotion of Exile...If they can get behind a new studio album like that the Stones will enter the US charts at #1.

Plus, EMI have under-performed badly for many years and are a company who have been in significant decline and in some difficulty for some time. It's not just a case of them not doing a good job promoting A Bigger Bang.

[www.guardian.co.uk]

Their initial promotion of ABB was pretty good as I recall- like most Stones albums, sales dropped off pretty quickly after a few weeks. However, once the initial chart success and hype dips, its really up to the band. And they had an absolutely massive potential audience of concert attendees which they should have targetted better.



Edited 2 time(s). Last edit at 2011-09-14 03:14 by Gazza.

Quote
James Kirk
I agree with Gazza that UMG did an amazing job with the promotion of Exile...If they can get behind a new studio album like that the Stones will enter the US charts at #1.

And what about the job UMG is doing with SuperHeavy? Anybody have any insight into
this slow-burn strategy they seem to be employing?

Quote
nocomment

Quote
James Kirk
I agree with Gazza that UMG did an amazing job with the promotion of Exile...If they can get behind a new studio album like that the Stones will enter the US charts at #1.

And what about the job UMG is doing with SuperHeavy? Anybody have any insight into
this slow-burn strategy they seem to be employing?

And its not just the record label, is it? As one of our close associates pointed out
months ago in this forum, SuperHeavy is managed by Irving Azoff, who is also
the head of LiveNation. While the Stones are managed by Mick and Keith, aren't they?

Dave Stewart in Nylon magazine giving his top ten albums...

Dylan, Stones, Beatles, Stevie Wonder, Clash, Pistols, Robert Johnson,
Bowie, Arcade Fire, and his own compilation Deep Blues. We don't
know the Deep Blues record, but we do know the film version. Very good.

Dave says he was 18 and in a Crosby-Nash kinda band when Sticky Fingers got
hold of him and THAT ended that band...

[www.eurythmics.me.uk]

Here's the link to the broadcast on Dutch television (Nieuwsuur) from sept 14. Allow for a few
seconds of commercial.

Nieuwsuur about Super Heavy

Just as long as the guitar plays, let it steal your heart away

Mick Jagger on Superheavy: 'Everyone subsumed their egos'
By Mark Savage
BBC News entertainment reporter


Superheavy is a band that shouldn't work.

Sir Mick Jagger's latest side project is a genre-splicing supergroup, starring Damian Marley, Joss Stone and Slumdog Millionaire composer AR Rahman.
Musically, it flits between rock, reggae, soul, bhangra and blues - with all four vocalists competing for space across 12 eclectic tracks.
Yet the record is oddly compelling, its musical flights of fancy grounded by the supple, rootsy rhythms of Marley's backing band.
"It was chaotic," admits Jagger of the recording sessions, "but it was also a lot of fun".
Initial sessions were held in LA, with later overdubs recorded in studios around the world
"Everyone had to subsume their egos to some point. There wasn't really someone who was 'the boss.'"
Jagger cooked up the idea for Superheavy with Eurythmics producer Dave Stewart, who convened the band for a fortnight of breakneck recording sessions in Los Angeles in 2009.
"This wasn't a project where you put a band in the studio and you take as long as you want," Jagger says.
"Everyone was busy, so we set the parameter so on the first 10 days, to see how much we could do."
Those sessions produced nearly 40 hours of music, often in the form of extended jams, which were gradually whittled down to form coherent songs.
"If you can play something for 35 minutes, you've got to be enjoying it," Jagger points out.

Revelations

As someone who has chiefly written alone or in partnership with Keith Richards for nearly 50 years, the collaborative process was something of a revelation for the strutting Stones frontman.
By way of illustration, he describes the creation of a song called One Day, One Night.
"AR Rahman set up this really simple groove," he says, "and on top of that I started playing two minor chords on the guitar."
"I drifted into the lyrical idea of this guy being drunk in a hotel room, and he'd obviously had a row with his girlfriend.
"Dave said: 'Why doesn't this guy wander across the street where Joss is singing?'
"So I had to write a bit where I go outside, and we changed the key from a minor key to a major key. Joss is singing in that major key, and I go on stage to join her.
"That was a very different way of writing a song. I'd never really done that before."
In the end, the album contains just one track where Jagger is credited as the sole author.
I Can't Take It No More is a brutally straightforward rock song with a caustic lyric.
"All you scurvy politicians," the 68-year-old spits, "crying endless contrition. It really gets my goat, it sticks in my throat."
It's angry ("angry-ish," Jagger corrects) but he denies that the song was directed at anyone in particular.
"It's just general. It is so apparent that politicians' promises are usually broken.
"They expect us to believe they're going to provide a panacea, but they're always entrapped by the problems they inherit. They find themselves the prisoners of practicalities and realities."
It's a sympathetic reading of the political system for someone who is more readily associated with the revolutionary counter-culture of the 1960s.
This is, after all, the man who wrote Street Fighting Man in response to rioters who almost toppled Charles De Gaulle's government in France in 1968.
But Jagger has often said the single was not supposed to be a call to arms for "sleepy London town".
"I never believed that the violent course was necessary for our society," he told one interviewer in 1987.
"For other societies, perhaps, but in ours it's totally unnecessary."
Asked about this summer's riots in the UK, Jagger's response is measured and dryly analytical.

"There's a long history of rioting in England and it seems to be that it goes in cycles," he says.
"We had the poll tax riots, the race riots, the Toxteth riots.
"This summer was described as the 'consumer riots' but, you know, in the race riots in the US 1960, there was always looting as well. It's always a by-product.
"Whether this all portends a complete breakdown in society, as David Cameron portrayed it, I don't know.
"Of course it exposes problems that have to be faced. But whether these problems are insuperable or not is a matter of conjecture."

Rolling rumours

Jagger proves easier to pin down on musical matters - specifically whether the Rolling Stones will play at the 2012 Olympics.
"Has anyone actually approached us? No," he says.
"But Bryan Adams said: 'Whatever you do, don't do any Olympic openings,' after he did the winter Games in Canada.
"It was so cold, and he had to wear this bizarre suit... Although that's not going to happen here - it would just rain."
The star adds that he was unimpressed with the UK's contribution to the closing ceremony at the Beijing Olympics.
"It wasn't a brilliant piece of theatre when they left the stadium with a London bus with Jimmy Page on it," he laughs.
"I don't want to be on that bus when it arrives in London…"

On Maroon 5's hit single Moves Like Jagger

"I was surprised that they'd done this song, because I've played shows with Maroon 5.
"They asked me to come and play with them in November but I don't think it's going to happen, politically speaking.
"But it's very flattering, isn't it? Hilarious."

[www.bbc.co.uk]

Quote
proudmary
Jagger proves easier to pin down on musical matters - specifically whether the Rolling Stones will play at the 2012 Olympics.
"Has anyone actually approached us? No," he says.
The star adds that he was unimpressed with the UK's contribution to the closing ceremony at the Beijing Olympics.
"It wasn't a brilliant piece of theatre when they left the stadium with a London bus with Jimmy Page on it," he laughs.
"I don't want to be on that bus when it arrives in London…"

Looking at the news feeds right now, it looks like they are going to spin
this as: Rolling Stones will not play London Olympics!

1) Mick didn't quite say that.
2) And they omitted one interesting wrinkle. The Director of AR's two big
hollywood soundtrack successes, Danny boyle, is also the director of the
Olympics ceremony. Danny had nothing to do with the beijing show.



Edited 1 time(s). Last edit at 2011-09-14 12:54 by nocomment.

[www.eurythmics.me.uk]

dave stewart interview, guitar and bass magazine.

nothing new about superheavy, but definitely more about his relationship
with bob dylan. seems like dave has been working and playing a whole
lot with bob since the mid 80's, helping bob develop his music, mostly
behind the scenes, mostly getting no credit. one magazine has gone so
far as to call dave bob's best friend.

hmmmmm. a lot of us here have begun to latch onto the storyline that dave is
kinda stealing mick from keith, but there may also be something to the notion
that mick is kinda stealing dave from bob.

or, if you prefer: seems like mick and dave may have both been feeling a
bit underappreciated by their longtime musical best friends.

track talk: unbelievable

(this track is about how unbelievable good it is to be alive.
this beat maybe come from india? if not, it must come
straight from Dreamtime. You can use, if it help, for your visual
aid one of them old-time cartoons with them dancing skeletons.)

(take it away, mick)

beautiful girl walks slowly
young men all look on
the first rose is a pleasure to my nose
the wine is a cool in the club

some say the night is lonely
some say the night is young
but night is the time for fantasy
the fantasy of love

(chorus with joss)

it's unbelievable. never wanna give it up.
it's unbelievable. never wanna give it up.

you say, where's the rub? nothing lasts forever, baby, ain't u heard?
you say, where's the rub? life is an illusion and its so unjust
you ask, where's the rub?
you say, where's the rub? life is but a dream and i will turn to dust

(more keyboards twinkle and sparkle more riff
onto mick and joss and a dancing skeletons too)

out of the sight of moonlight, the stars in the dome above
your hair is waving in the wind, are you ready for love?
are you ready?

(junior gong ready)

whether you believe or fathom
in a eve or adam
the world of particles molecules and atoms
living organisms into organized patterns
living the life you love, you better love it with a passion

(repeat chorus)

(then rahman call everyone to prayer and start a coda,
more skeleton keyboards, chanting, voodoo mick whispers...)

some say the nights are lonely
some say the night is young
night is the time, night is the time for fantasy,
the fantasy of love

(fragments of chorus here and there, mick yowling in
mostly familiar fashion, until, as he is dying, he chokes
out his last words and testament)

never wanna give it up!

(string section like a flock of ghosts)

(brother damian at the funeral)

give me the kinda gat that cause a real revolution
don't care your race nor culture nor fashion
life worth much more than gold and cash-in
living every moment with true compassion

(finally, an unfamiliar voice from mick, quite spiritual, this time from
beyond the grave, moved onto his next life)

unbelievable! never gonna, never gonna give it up!
unbelievable! never gonna give it up!

(careful: this track a one way ticket to the moon.)

Must say I am really enjoying the album, played 6 or 7 tracks last night and loved it - especially 'Energy', 'Unbelievable' & 'Satyameva'

Highlights:
One Day One Night, Never Gonna Change,

Up:
Superheavy, Energy, Rock Me Gently, I Dont Mind, Mahiya, Common Ground, Hey Captain,

Down:
Satyameva, Take it no more,

The rest is average pop rock with world music taste

violin and Damian Marley toasting are the things i like most in it

all of it imho of course

first nine snippets on http://soundcloud.com/superheavynl
tomorrow: Dutch release, the last few snippets on Soundcloud.

Saturday: an exclusive interview with the entire band on SuperHeavyNL Twitter page.
Monday: SuperHeavy world-wide release; extra acoustic track available on Spotify



[www.paulinestroosnijder.com]

We think after four days we're ready to give this album some kind of preliminary
review. The two weakest tracks (and they're still pretty good) are the two most
Stonesy ones, "Never gonna change" and "can't take it no more". While we're
almost certain Mick and Dave (and Joss) could turn out as good a Stones album at
this moment as the Stones themselves, man are we glad they didn't try (except
for the two songs mentioned). Let sleeping dogs lie.

As for the other 14 songs, this is some of the most exciting music we have ever
heard. It may take you, like it is taking us, quite a few listens to get to the bottom
of it, but our conclusion is "miracle accomplished." Somehow every one of these
14 tracks is completely true to Damian's (and his band's) urban rhythms and to
AR's pop classicism and to the blues/soul sensibilities of the other three.

You've heard of the fire that burns but does not consume or hurt?

This music is it.

Quote
nocomment
We think after four days we're ready to give this album some kind of preliminary
review.

Who is "we" ?

-------------------
Keep On Rolling