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drewmasterQuote
Doxa
I don't like Jagger's vocal delivery either. There is just something so cheesy in it.
There IS a very cheesy quality about this song, but I think the cheesiness comes from Blue Magic. They reek of Las Vegas. I can just picture them on stage in shiny suits doing a little cheesy dance routine. To me, this is not a Stones track featuring Blue Magic, this is a Blue Magic song with some input from the Stones.
Drew
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drewmaster
There IS a very cheesy quality about this song, but I think the cheesiness comes from Blue Magic. They reek of Las Vegas. I can just picture them on stage in shiny suits doing a little cheesy dance routine. To me, this is not a Stones track featuring Blue Magic, this is a Blue Magic song with some input from the Stones.
Drew
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Blueranger
A good song, would have benefitted if it wasn't so long. Almost 6.30 minutes is a bit too much.
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loog droogQuote
drewmasterQuote
Doxa
I don't like Jagger's vocal delivery either. There is just something so cheesy in it.
There IS a very cheesy quality about this song, but I think the cheesiness comes from Blue Magic. They reek of Las Vegas. I can just picture them on stage in shiny suits doing a little cheesy dance routine. To me, this is not a Stones track featuring Blue Magic, this is a Blue Magic song with some input from the Stones.
Drew
Amazing. The term "Las Vegas" is generally used here to mean not authentic and phony, and yet you use it to describe an American R&B vocal group.
A lot of Rock fans just don't get the approach that black artists take. The idea of wearing shiny suits and being polished performers who actually sing in tune is derided as "cheesy." If a black group ever played the Apollo and sang as ragged as Keith or Ronnie or Mick has on stage, they'd be given the hook!
The idea of a bunch of white guys from England, millionaires who dress down and sing the blues being more authentic than a group from the country and music and race they emulate is a joke.
This song is in my opinion the overlooked gem on the album, that was lost between the title track anthem, the opening rocker, the Motown cover single, and the two big statements (TWFNO and FF ).
It maybe runs a little long, and like the rest of the album, has a soggy sound that lacks the punch of the 68-72 Golden Age records, but it's a good track. And compared to their body of work since '81, it's a masterpiece.
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Come On
the way mick sings is in my ears almost a self-parody....in the same league as blinded by love, indian girl and sweethearts together....
Hey fine ballads like that...
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Sleepy CityQuote
Come On
the way mick sings is in my ears almost a self-parody....in the same league as blinded by love, indian girl and sweethearts together....
Hey fine ballads like that...
I know exactly what you mean! That's why I so much prefer his ballad singing in 1965.
Fans complain about the "affected" accents & vocal stylings Mick does these days, but really they started about 40 years ago.
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Elmo Lewis
Love this song. Sorry, you haters.
Obviously about Bianca.
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DandelionPowdermanQuote
Elmo Lewis
Love this song. Sorry, you haters.
Obviously about Bianca.
See lyrics above
Wow; good posting. I just posted like 7 or 8 times and was going to quit. I hate it when my name is on top if the list like bang, bang , bang. But I had to answer this. I don't agree too much with the editing idea, and I am one of those who like the song a lot, but what you say is very deep. I wonder if the constant up and down has to do with what annoys people. I had never looked at it like that.Quote
RobberBride
Good song, but it sags a bit with the constant up and down in intensity IMHO.
Great solo. Don´t mind the sugary back up, although it can´t touch Let it Loose at all, a song I´ve always felt it tried to match.
But love the doubletracked Mick J in the choruses almost has a flanger feel to it and the spontaneous two "yeah!"´s before and into the same chorus. Despite the IORR album seems to be too much of a separated studio effort, those things make it less so.
Its a bit too long. Since my dayjob is as an editor this one once was a obvious choice to shorten. Even though its sacrilegious. Going from the guitar solo directly into the climax makes much more sense to me. So in my current best of list I have the 3.30 version, eventhough the 4.47 version features the cool second verse.
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Palace Revolution 2000
I don't agree too much with the editing idea, and I am one of those who like the song a lot
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RobberBrideQuote
Palace Revolution 2000
I don't agree too much with the editing idea, and I am one of those who like the song a lot
Ha ha. I agree with you that editing down Stones classics not necessarily is for the good. But as long as the classics are out there and no private edit ever really pose a threat anyhow, its ok. Its like trying to mix GS all over using those isolated tracks. IMHO, no remix will ever touch the original version. However, you could learn a whole lot from it.
The problem in my opinion is when those radio formated 3.30 version tracks start to appear as the only version of a song, an attempt to push a living breathing work of art into an envelope of concrete, hehe. That is just plain sad. Of course, succeeding within the strict rules that is a three minute popsingle, 90 minute Hollywood blockbuster or even the Shakespearien sonettas can be an enormous challenge, so Im not dissing it, its just not very Stones to cut it too clean. Still, my irritation with "If you really..." is that it does not breath so much as sag, as noted earlier. It´s a fine line, hehe.
With the risk of getting off topic, I recently read a interview with the editor of the new film "Tree of Life". He said it took him a long time to figure out that what director Terrence Malick wanted from a scene always was what he instinctively cut out. The editor seeked logic, the director only kept the "breath" and threw all that was logic out the window. While the "Tree of Life" is probably not for everybody, its an interesting piece of film.
If I knew nothing about the RS except the music I think I still would think Mick was the logic one and Keith the one that strived for rhythms and feel more than anything. The breathing.
But what do I know.
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Elmo LewisQuote
DandelionPowdermanQuote
Elmo Lewis
Love this song. Sorry, you haters.
Obviously about Bianca.
See lyrics above
The culture/vulture stuff, etc.
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stupidguy2Quote
Elmo LewisQuote
DandelionPowdermanQuote
Elmo Lewis
Love this song. Sorry, you haters.
Obviously about Bianca.
See lyrics above
The culture/vulture stuff, etc.
'People tell me you are a vulture,
Say you're a sore in a cancer culture -
but you got a little charm around ya,
I'll be there when they finally hound ya, hound yaaaaa....'
There is a review of IORR from the New Yorker, where writer Ellen Willis comments on this song, and others:
"Could be that Jagger has finally met his match..."
And I love those last guitar licks....in the fade-out.....
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leteyerQuote
drewmaster
There IS a very cheesy quality about this song, but I think the cheesiness comes from Blue Magic. They reek of Las Vegas. I can just picture them on stage in shiny suits doing a little cheesy dance routine. To me, this is not a Stones track featuring Blue Magic, this is a Blue Magic song with some input from the Stones.
Drew
Way off....Those are lyrics are the Stones and nobody else.
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drewmaster
Sorry, but to me this is a clunker... one of the weakest tracks on a spotty album. I wouldn't let my dog listen to this one.
Drew
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Turner68Quote
drewmaster
Sorry, but to me this is a clunker... one of the weakest tracks on a spotty album. I wouldn't let my dog listen to this one.
Drew
Well said. Come to think of it, I wouldn't let my dog's fleas listen to it either.