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71Tele
I agree with that. I do still think that track - and that album - marked the beginning of a long decline and diminished inspiration (broken up by Some Girls and Tattoo You).
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MathijsQuote
71Tele
I agree with that. I do still think that track - and that album - marked the beginning of a long decline and diminished inspiration (broken up by Some Girls and Tattoo You).
Long decline? There's just three years between IORR and the '77 Pathe Marconi sessions, which are the most fruitful sessions since say '66. And in those three years they had a major US and European tour, searched for a guitarist, released a studio album and a live album.
If only B&B was a bit more satisfying nobody would say there was such a decline.
Mathijs
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DandelionPowdermanQuote
MathijsQuote
71Tele
I agree with that. I do still think that track - and that album - marked the beginning of a long decline and diminished inspiration (broken up by Some Girls and Tattoo You).
Long decline? There's just three years between IORR and the '77 Pathe Marconi sessions, which are the most fruitful sessions since say '66. And in those three years they had a major US and European tour, searched for a guitarist, released a studio album and a live album.
If only B&B was a bit more satisfying nobody would say there was such a decline.
Mathijs
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MathijsQuote
71Tele
I agree with that. I do still think that track - and that album - marked the beginning of a long decline and diminished inspiration (broken up by Some Girls and Tattoo You).
Long decline? There's just three years between IORR and the '77 Pathe Marconi sessions, which are the most fruitful sessions since say '66. And in those three years they had a major US and European tour, searched for a guitarist, released a studio album and a live album.
If only B&B was a bit more satisfying nobody would say there was such a decline.
Mathijs
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71TeleQuote
MathijsQuote
71Tele
I agree with that. I do still think that track - and that album - marked the beginning of a long decline and diminished inspiration (broken up by Some Girls and Tattoo You).
Long decline? There's just three years between IORR and the '77 Pathe Marconi sessions, which are the most fruitful sessions since say '66. And in those three years they had a major US and European tour, searched for a guitarist, released a studio album and a live album.
If only B&B was a bit more satisfying nobody would say there was such a decline.
Mathijs
I stand by my comments. The overall quality of the work diminished after GHS and I acknowledged that Some Girls interrupted this decline. All down hill after that.
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drewmaster
I simply LOVE this track; it’s the Stones in all their glory (although the rest of the album is definitely hit-or-miss). From Charlie’s opening gunshot salvo, to the glorious blending of Keith’s crunchy riffing and Taylor’s beautifully melodic guitars that chime in perfectly a split second later, to Mick’s full-force-but-slightly-hoarse vocal, this one grabs the listener by the throat and never lets go. What a great, chugging rhythm (go Charlie go!!!), and those lyrics, baby, you gotta love ‘em… A thousand lips I would love to taste … I’ve got one heart and it hurts like hell … Who’s that black girl in the bright blue hair? … Rock and roll simply doesn’t get any better than this. I love how, as the song builds momentum in the final stretch of the song, Charlie’s drums go into overtime, and Mick squeals in ecstasy.
Tight and loose at the same time, IYCRM swings like a motherfukker, and exemplifies the band I love.
Drew
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DandelionPowdermanQuote
71TeleQuote
MathijsQuote
71Tele
I agree with that. I do still think that track - and that album - marked the beginning of a long decline and diminished inspiration (broken up by Some Girls and Tattoo You).
Long decline? There's just three years between IORR and the '77 Pathe Marconi sessions, which are the most fruitful sessions since say '66. And in those three years they had a major US and European tour, searched for a guitarist, released a studio album and a live album.
If only B&B was a bit more satisfying nobody would say there was such a decline.
Mathijs
I stand by my comments. The overall quality of the work diminished after GHS and I acknowledged that Some Girls interrupted this decline. All down hill after that.
For me, Undercover was a major improvement in quality, compared to GHS. Then, the decline would have started in 1986.
I'm just curious, do you include ER in "the decline"?
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drewmaster
I’ve got one heart and it hurts like hell
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Rockman
Lurv the studio version ... always have ....
fave lyrics no matter which way ya take 'em ....
You lovely ladies in your leather and lace
A thousand lips I would love to taste
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Silver Dagger
I must admit I was underwhelmed when I first heard this.
Compared to other openers such as Sympathy For The Devil, Gimme Shelter, Brown Sugar, Rock's Off and even Dancing With Mr D it was was I call, the start of the 'Roger Moore Years' for the Stones as opposed to the cool Sean Connery years before then. The menace had gone and it was replaced with tongue-in-cheek humour.
For me, It's Only Rock'n'Roll represented the start of comedy and self-parody in the Stones recording career - songs like the title track, Short and Curlies, If You Really Want To Be My Friend, and this.
I guess a lot of the tension and drama of the psychedelic London years with their busts; Nellcote and Jamaica had ended and the Stones were generally living apart and enjoying their own domestic situations rather than living near each other and living common experiences as they used to.
Anyway, back to the song - it's an averaqe rocker for the band but it's let down by a true lack of dynamics. There's no light and dark or the sudden killer introduction of Sympathy like guitar solo to melt your brain.
So for me a mildly enjoyable toe tapper but nothing special.
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DandelionPowderman
What made the studio version magical is Mick's vocals.
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Rockman
Lurv the studio version ... always have ....
fave lyrics no matter which way ya take 'em ....
You lovely ladies in your leather and lace
A thousand lips I would love to taste