Tell Me :
Talk
The best advice I can give you: grab that Undercover CD, and play it really loud. Open up your mind to some 'new' Stones, and find that the album actually is much stronger than you remembered. Great lyrics, great singing, great grooves, and the last album where the Stones still meant danger.
Mathijs
I know you like that record Mathijs...I respect your opinion. I just don't care for it, although it has a few moments. You are probably right about the danger part. I just don't think the songs are very good or that they add up to much in terms of a musical statement or even a mood.
Coming to Amsterdam on the 8th through 10th. We could meet up for a beer and argue its merits in person!
Edited 1 time(s). Last edit at 2011-10-25 10:01 by 71Tele.
This the beginning of open G stifling rather than enhancing Keith's creativity, something that reached its nadir on 'Main Offender'.
If you're thinking of Running Too Deep and Will But You Won't, I agree with you.
However, Wicked As It Seems and Eileen are brilliant.
Oh yes, not all of the album was open-G-by-numbers.
No, but WAIS and Eileen were open G-songs, too.
Yep, it is. So is LIS, Sparks Will Fly, I Go Wild and Baby, Break It Down.
Mixed Emotions & Sad Sad Sad on Steel Wheels are fine examples of latter day open G recordings too, even though it's Mick playing the 5 string on SSS.
Edited 1 time(s). Last edit at 2011-10-25 15:04 by Sleepy City.
I don't like Mick's open G-playing on SSS or HOTYH on Steel Wheels. He's too much on the beat for me. He's better on Highwire though. On Mixed Emotions we get classic Keith, and there IS a difference
you're kind of the will rogers of the fan community, i guess
This is DEVIL’s music, son; rock and roll of the purest and finest grade, mainlining right to the jugular; the louder you play this one, the better it gets..........yes!!!!
I love Soul Survivor, its cousin, but this one is even more amazing. It’s probably the most shamefully under-rated track from what may be the Stones’ most shamefully under-rated album.....Yes again...I've said a on here (IORR) more than once that this album is the business end of the Stones...Exile grown up and the only reason it doesn't wipe the floor with it is because it wasn't a double.........
Having coming off the stellar success of Tattoo You, they were still floating, still on top of the world when they recorded this one, and the confidence, the fvck-you-we’re-the-fukkin-Rolling-Stones-so-go-fvck-yerself bravado, is truly breathtaking..... thrice yes....again as I've said they burst through the ceiling of the rock'n'roll rulebook with a perfect "@#$%& it, were gonna do what we wanna to do......" attitude not playing to the gallery one tiny bit - repeating again, sumptious musical nirvana..........Ah
Hats off to you drewmaster....brilliant review....
Edited 1 time(s). Last edit at 2011-10-27 15:13 by EddieByword.
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Re: Track Talk: It Must Be Hell
Posted by:
NorthShoreBlues2
()
Date: October 25, 2011 02:13
always kinda liked it . . .
Re: Track Talk: It Must Be Hell
Posted by:
ab
()
Date: October 25, 2011 09:29
Paint by numbers Stones.
Re: Track Talk: It Must Be Hell
Posted by:
71Tele
()
Date: October 25, 2011 09:49
It's in open G on guitar. Yep. And that's about the best thing I can say about it.
Re: Track Talk: It Must Be Hell
Posted by:
Mathijs
()
Date: October 25, 2011 09:53
Quote
71Tele
A forgettable non-entity, as I have forgotten it and am none the worse.
The best advice I can give you: grab that Undercover CD, and play it really loud. Open up your mind to some 'new' Stones, and find that the album actually is much stronger than you remembered. Great lyrics, great singing, great grooves, and the last album where the Stones still meant danger.
Mathijs
Re: Track Talk: It Must Be Hell
Posted by:
71Tele
()
Date: October 25, 2011 10:01
Quote
MathijsQuote
71Tele
A forgettable non-entity, as I have forgotten it and am none the worse.
The best advice I can give you: grab that Undercover CD, and play it really loud. Open up your mind to some 'new' Stones, and find that the album actually is much stronger than you remembered. Great lyrics, great singing, great grooves, and the last album where the Stones still meant danger.
Mathijs
I know you like that record Mathijs...I respect your opinion. I just don't care for it, although it has a few moments. You are probably right about the danger part. I just don't think the songs are very good or that they add up to much in terms of a musical statement or even a mood.
Coming to Amsterdam on the 8th through 10th. We could meet up for a beer and argue its merits in person!
Edited 1 time(s). Last edit at 2011-10-25 10:01 by 71Tele.
Re: Track Talk: It Must Be Hell
Posted by:
Palace Revolution 2000
()
Date: October 25, 2011 12:10
Undercover is a great album. Like Mathijs says, one of the last times they still meant danger.
Re: Track Talk: It Must Be Hell
Posted by:
Send It To me
()
Date: October 25, 2011 12:18
The gist of this song seems to be "it must suck not to be me"
It does indeed, Mick. : )
It does indeed, Mick. : )
Re: Track Talk: It Must Be Hell
Posted by:
Sleepy City
()
Date: October 25, 2011 12:27
Quote
71Tele
It's in open G on guitar. Yep. And that's about the best thing I can say about it.
This the beginning of open G stifling rather than enhancing Keith's creativity, something that reached its nadir on 'Main Offender'.
Re: Track Talk: It Must Be Hell
Posted by:
DandelionPowderman
()
Date: October 25, 2011 12:31
Quote
Sleepy CityQuote
71Tele
It's in open G on guitar. Yep. And that's about the best thing I can say about it.
This the beginning of open G stifling rather than enhancing Keith's creativity, something that reached its nadir on 'Main Offender'.
If you're thinking of Running Too Deep and Will But You Won't, I agree with you.
However, Wicked As It Seems and Eileen are brilliant.
Re: Track Talk: It Must Be Hell
Posted by:
Sleepy City
()
Date: October 25, 2011 12:38
Quote
DandelionPowdermanQuote
Sleepy CityQuote
71Tele
It's in open G on guitar. Yep. And that's about the best thing I can say about it.
This the beginning of open G stifling rather than enhancing Keith's creativity, something that reached its nadir on 'Main Offender'.
If you're thinking of Running Too Deep and Will But You Won't, I agree with you.
However, Wicked As It Seems and Eileen are brilliant.
Oh yes, not all of the album was open-G-by-numbers.
Re: Track Talk: It Must Be Hell
Posted by:
DandelionPowderman
()
Date: October 25, 2011 12:46
Quote
Sleepy CityQuote
DandelionPowdermanQuote
Sleepy CityQuote
71Tele
It's in open G on guitar. Yep. And that's about the best thing I can say about it.
This the beginning of open G stifling rather than enhancing Keith's creativity, something that reached its nadir on 'Main Offender'.
If you're thinking of Running Too Deep and Will But You Won't, I agree with you.
However, Wicked As It Seems and Eileen are brilliant.
Oh yes, not all of the album was open-G-by-numbers.
No, but WAIS and Eileen were open G-songs, too.
Re: Track Talk: It Must Be Hell
Posted by:
Send It To me
()
Date: October 25, 2011 12:51
There is some good open G stuff on Voodoo Lounge (Is YGMR in that tuning?)
Nice observation, tho, Sleepy City.
Nice observation, tho, Sleepy City.
Re: Track Talk: It Must Be Hell
Posted by:
RobertJohnson
()
Date: October 25, 2011 12:52
Not a great rocker, a mediocre rock song, a little too long and repetitive, but interesting riffs.
Re: Track Talk: It Must Be Hell
Posted by:
DandelionPowderman
()
Date: October 25, 2011 12:53
Quote
Send It To me
There is some good open G stuff on Voodoo Lounge (Is YGMR in that tuning?)
Nice observation, tho, Sleepy City.
Yep, it is. So is LIS, Sparks Will Fly, I Go Wild and Baby, Break It Down.
Re: Track Talk: It Must Be Hell
Posted by:
Palace Revolution 2000
()
Date: October 25, 2011 13:05
Will But You Won't is brilliant.
As is Running to deep. Don't see that as stifling at all; what is odd is the sequencing. First listens I thought WBYW was till part 2 of Runnin to deep
( I almost typed Running to Depp lol)
As is Running to deep. Don't see that as stifling at all; what is odd is the sequencing. First listens I thought WBYW was till part 2 of Runnin to deep
( I almost typed Running to Depp lol)
Re: Track Talk: It Must Be Hell
Posted by:
Sleepy City
()
Date: October 25, 2011 15:04
Quote
DandelionPowdermanQuote
Send It To me
There is some good open G stuff on Voodoo Lounge (Is YGMR in that tuning?)
Nice observation, tho, Sleepy City.
Yep, it is. So is LIS, Sparks Will Fly, I Go Wild and Baby, Break It Down.
Mixed Emotions & Sad Sad Sad on Steel Wheels are fine examples of latter day open G recordings too, even though it's Mick playing the 5 string on SSS.
Edited 1 time(s). Last edit at 2011-10-25 15:04 by Sleepy City.
Re: Track Talk: It Must Be Hell
Posted by:
WilliamPatrickMaynard
()
Date: October 25, 2011 15:15
I like it a lot, but I also think of UNDERCOVER as that near miss classic where they took chances and tried very hard to deliver. It almost works. The whole album is this fascinating study of what could have been one of their best albums.
Re: Track Talk: It Must Be Hell
Posted by:
DandelionPowderman
()
Date: October 25, 2011 15:19
Quote
Sleepy CityQuote
DandelionPowdermanQuote
Send It To me
There is some good open G stuff on Voodoo Lounge (Is YGMR in that tuning?)
Nice observation, tho, Sleepy City.
Yep, it is. So is LIS, Sparks Will Fly, I Go Wild and Baby, Break It Down.
Mixed Emotions & Sad Sad Sad on Steel Wheels are fine examples of latter day open G recordings too, even though it's Mick playing the 5 string on SSS.
I don't like Mick's open G-playing on SSS or HOTYH on Steel Wheels. He's too much on the beat for me. He's better on Highwire though. On Mixed Emotions we get classic Keith, and there IS a difference
Re: Track Talk: It Must Be Hell
Posted by:
Palace Revolution 2000
()
Date: October 26, 2011 12:11
Good posting. Agree - that SSS guitar is too strictQuote
DandelionPowdermanQuote
Sleepy CityQuote
DandelionPowdermanQuote
Send It To me
There is some good open G stuff on Voodoo Lounge (Is YGMR in that tuning?)
Nice observation, tho, Sleepy City.
Yep, it is. So is LIS, Sparks Will Fly, I Go Wild and Baby, Break It Down.
Mixed Emotions & Sad Sad Sad on Steel Wheels are fine examples of latter day open G recordings too, even though it's Mick playing the 5 string on SSS.
I don't like Mick's open G-playing on SSS or HOTYH on Steel Wheels. He's too much on the beat for me. He's better on Highwire though. On Mixed Emotions we get classic Keith, and there IS a difference
Re: Track Talk: It Must Be Hell
Posted by:
KeithNacho
()
Date: October 26, 2011 14:01
KR's open-G licks and riffs are very easy to play. But no one, NO ONE, sounds like KR
Re: Track Talk: It Must Be Hell
Posted by:
StonesTod
()
Date: October 26, 2011 17:21
Quote
Send It To me
I've never met a Stones song I didn't like.
you're kind of the will rogers of the fan community, i guess
Re: Track Talk: It Must Be Hell
Posted by:
DragonSky
()
Date: October 26, 2011 18:24
I've always liked it. Yeah it's nothing great or fantastic but for some reason I like Mick's delivery. So they ripped themselves off. Maybe at that point they figured nobody listened to Exile anymore. They ripped off Brown Sugar with Sad Sad Sad - it's just backwards. Last inventive album.
Re: Track Talk: It Must Be Hell
Posted by:
Green Lady
()
Date: October 26, 2011 20:57
This one reminds me of It Must Be Hell: sounds like an Undercover outtake...
Re: Track Talk: It Must Be Hell
Posted by:
DragonSky
()
Date: October 27, 2011 01:20
How that reminds you of It Must Be Hell makes zero sense. Sounds like a Jagger leftover from Primitive Cool minus the horrible guitaring of Jeff Beck but still just as bad, the way Radio Control does what it does.
Re: Track Talk: It Must Be Hell
Posted by:
drewmaster
()
Date: October 27, 2011 02:12
I can’t believe some of y’all don’t appreciate the wondrous glory of this track. Ladies and gentlemen, this is 5 minutes and 5 seconds of pure sonic bliss, showcasing the Stones’ majesty and genius. If you want to know what it feels like to be truly alive, to suck the marrow from life, then smoke a fattie, crank the stereo to 11, get your air guitar out, and hit the play button. Shout and scream along with this one till you’re hoarse. If that doesn’t release your inner demons – all the anger and pain and fury inside – then, well, ain’t nothing gonna help ya.
It starts out so simply and elegantly. Keith’s riff, man, holy shit; right from the outset, it just tears a hole in the universe with its relentless, pounding fury. And then Charlie chimes in with a machine-gun volley that’s so funky it should be illegal; you just gotta get up off yer ass and dance. Bill enters, stage left, with a magnificently swampy blues line. Dig Keith’s bluesy moan (it is Keith, isn’t it?), eerily setting the stage for the satanic blues-fest to come. And then Mick starts yowling his tale of woe, exorcising the demons, with brutal lyrics that pull no punches at all, his words just snaking beautifully through Keith’s guitar licks, as only he can do … pure Glimmer Twins alchemy. And Ronnie’s scorching solo, meshing perfectly with Keith’s relentless riff; notice how Keith’s riff sounds a little different, a little more intense, after Ronnie exits.
But wait, this one then gets even better, as everything starts to gel and it starts to go into overdrive. Those maracas in the next guitar break, underscoring that incredibly funky groove. And Bill’s bass, continuing to hold it all down so perfectly but now coming more to the foreground for added effect. Another guitar (or two) becomes noticeable, wailing for attention, and then that haunting repeated note on the piano, all just further adding to the sonic ecstasy that by this point is so intense that it’s almost unbearable. (There’s a particularly wonderful moment at 3:20, when Keith does this rude little descending two-note combination-lick that just makes me glad to be alive).
The SOUND of this track is just so phenomenal; an open-G fest if there ever was one. I could listen to this riff all day every day and never get bored. And that propulsive, strutting groove, showing the world how it’s done, reminding us that, rhythmically, no one has ever or will ever be able to touch the Stones.
This is DEVIL’s music, son; rock and roll of the purest and finest grade, mainlining right to the jugular; the louder you play this one, the better it gets. I love Soul Survivor, its cousin, but this one is even more amazing. It’s probably the most shamefully under-rated track from what may be the Stones’ most shamefully under-rated album. Having coming off the stellar success of Tattoo You, they were still floating, still on top of the world when they recorded this one, and the confidence, the fvck-you-we’re-the-fukkin-Rolling-Stones-so-go-fvck-yerself bravado, is truly breathtaking.
Drew
Edited 1 time(s). Last edit at 2011-10-27 03:59 by drewmaster.
It starts out so simply and elegantly. Keith’s riff, man, holy shit; right from the outset, it just tears a hole in the universe with its relentless, pounding fury. And then Charlie chimes in with a machine-gun volley that’s so funky it should be illegal; you just gotta get up off yer ass and dance. Bill enters, stage left, with a magnificently swampy blues line. Dig Keith’s bluesy moan (it is Keith, isn’t it?), eerily setting the stage for the satanic blues-fest to come. And then Mick starts yowling his tale of woe, exorcising the demons, with brutal lyrics that pull no punches at all, his words just snaking beautifully through Keith’s guitar licks, as only he can do … pure Glimmer Twins alchemy. And Ronnie’s scorching solo, meshing perfectly with Keith’s relentless riff; notice how Keith’s riff sounds a little different, a little more intense, after Ronnie exits.
But wait, this one then gets even better, as everything starts to gel and it starts to go into overdrive. Those maracas in the next guitar break, underscoring that incredibly funky groove. And Bill’s bass, continuing to hold it all down so perfectly but now coming more to the foreground for added effect. Another guitar (or two) becomes noticeable, wailing for attention, and then that haunting repeated note on the piano, all just further adding to the sonic ecstasy that by this point is so intense that it’s almost unbearable. (There’s a particularly wonderful moment at 3:20, when Keith does this rude little descending two-note combination-lick that just makes me glad to be alive).
The SOUND of this track is just so phenomenal; an open-G fest if there ever was one. I could listen to this riff all day every day and never get bored. And that propulsive, strutting groove, showing the world how it’s done, reminding us that, rhythmically, no one has ever or will ever be able to touch the Stones.
This is DEVIL’s music, son; rock and roll of the purest and finest grade, mainlining right to the jugular; the louder you play this one, the better it gets. I love Soul Survivor, its cousin, but this one is even more amazing. It’s probably the most shamefully under-rated track from what may be the Stones’ most shamefully under-rated album. Having coming off the stellar success of Tattoo You, they were still floating, still on top of the world when they recorded this one, and the confidence, the fvck-you-we’re-the-fukkin-Rolling-Stones-so-go-fvck-yerself bravado, is truly breathtaking.
Drew
Edited 1 time(s). Last edit at 2011-10-27 03:59 by drewmaster.
Re: Track Talk: It Must Be Hell
Posted by:
Sipuncula
()
Date: October 27, 2011 06:25
Now THAT post, drewmaster, compels me to give the song another listen.
Re: Track Talk: It Must Be Hell
Posted by:
EddieByword
()
Date: October 27, 2011 13:42
Quote
drewmaster
I can’t believe some of y’all don’t appreciate the wondrous glory of this track. Ladies and gentlemen, this is 5 minutes and 5 seconds of pure sonic bliss, showcasing the Stones’ majesty and genius. If you want to know what it feels like to be truly alive, to suck the marrow from life, then smoke a fattie, crank the stereo to 11, get your air guitar out, and hit the play button. Shout and scream along with this one till you’re hoarse. If that doesn’t release your inner demons – all the anger and pain and fury inside – then, well, ain’t nothing gonna help ya.
It starts out so simply and elegantly. Keith’s riff, man, holy shit; right from the outset, it just tears a hole in the universe with its relentless, pounding fury. And then Charlie chimes in with a machine-gun volley that’s so funky it should be illegal; you just gotta get up off yer ass and dance. Bill enters, stage left, with a magnificently swampy blues line. Dig Keith’s bluesy moan (it is Keith, isn’t it?), eerily setting the stage for the satanic blues-fest to come. And then Mick starts yowling his tale of woe, exorcising the demons, with brutal lyrics that pull no punches at all, his words just snaking beautifully through Keith’s guitar licks, as only he can do … pure Glimmer Twins alchemy. And Ronnie’s scorching solo, meshing perfectly with Keith’s relentless riff; notice how Keith’s riff sounds a little different, a little more intense, after Ronnie exits.
But wait, this one then gets even better, as everything starts to gel and it starts to go into overdrive. Those maracas in the next guitar break, underscoring that incredibly funky groove. And Bill’s bass, continuing to hold it all down so perfectly but now coming more to the foreground for added effect. Another guitar (or two) becomes noticeable, wailing for attention, and then that haunting repeated note on the piano, all just further adding to the sonic ecstasy that by this point is so intense that it’s almost unbearable. (There’s a particularly wonderful moment at 3:20, when Keith does this rude little descending two-note combination-lick that just makes me glad to be alive).
The SOUND of this track is just so phenomenal; an open-G fest if there ever was one. I could listen to this riff all day every day and never get bored. And that propulsive, strutting groove, showing the world how it’s done, reminding us that, rhythmically, no one has ever or will ever be able to touch the Stones.
This is DEVIL’s music, son; rock and roll of the purest and finest grade, mainlining right to the jugular; the louder you play this one, the better it gets. I love Soul Survivor, its cousin, but this one is even more amazing. It’s probably the most shamefully under-rated track from what may be the Stones’ most shamefully under-rated album. Having coming off the stellar success of Tattoo You, they were still floating, still on top of the world when they recorded this one, and the confidence, the fvck-you-we’re-the-fukkin-Rolling-Stones-so-go-fvck-yerself bravado, is truly breathtaking.
Drew
This is DEVIL’s music, son; rock and roll of the purest and finest grade, mainlining right to the jugular; the louder you play this one, the better it gets..........yes!!!!
I love Soul Survivor, its cousin, but this one is even more amazing. It’s probably the most shamefully under-rated track from what may be the Stones’ most shamefully under-rated album.....Yes again...I've said a on here (IORR) more than once that this album is the business end of the Stones...Exile grown up and the only reason it doesn't wipe the floor with it is because it wasn't a double.........
Having coming off the stellar success of Tattoo You, they were still floating, still on top of the world when they recorded this one, and the confidence, the fvck-you-we’re-the-fukkin-Rolling-Stones-so-go-fvck-yerself bravado, is truly breathtaking..... thrice yes....again as I've said they burst through the ceiling of the rock'n'roll rulebook with a perfect "@#$%& it, were gonna do what we wanna to do......" attitude not playing to the gallery one tiny bit - repeating again, sumptious musical nirvana..........Ah
Hats off to you drewmaster....brilliant review....
Edited 1 time(s). Last edit at 2011-10-27 15:13 by EddieByword.
Re: Track Talk: It Must Be Hell
Posted by:
DandelionPowderman
()
Date: October 27, 2011 13:52
Quote
drewmaster
I can’t believe some of y’all don’t appreciate the wondrous glory of this track. Ladies and gentlemen, this is 5 minutes and 5 seconds of pure sonic bliss, showcasing the Stones’ majesty and genius. If you want to know what it feels like to be truly alive, to suck the marrow from life, then smoke a fattie, crank the stereo to 11, get your air guitar out, and hit the play button. Shout and scream along with this one till you’re hoarse. If that doesn’t release your inner demons – all the anger and pain and fury inside – then, well, ain’t nothing gonna help ya.
It starts out so simply and elegantly. Keith’s riff, man, holy shit; right from the outset, it just tears a hole in the universe with its relentless, pounding fury. And then Charlie chimes in with a machine-gun volley that’s so funky it should be illegal; you just gotta get up off yer ass and dance. Bill enters, stage left, with a magnificently swampy blues line. Dig Keith’s bluesy moan (it is Keith, isn’t it?), eerily setting the stage for the satanic blues-fest to come. And then Mick starts yowling his tale of woe, exorcising the demons, with brutal lyrics that pull no punches at all, his words just snaking beautifully through Keith’s guitar licks, as only he can do … pure Glimmer Twins alchemy. And Ronnie’s scorching solo, meshing perfectly with Keith’s relentless riff; notice how Keith’s riff sounds a little different, a little more intense, after Ronnie exits.
But wait, this one then gets even better, as everything starts to gel and it starts to go into overdrive. Those maracas in the next guitar break, underscoring that incredibly funky groove. And Bill’s bass, continuing to hold it all down so perfectly but now coming more to the foreground for added effect. Another guitar (or two) becomes noticeable, wailing for attention, and then that haunting repeated note on the piano, all just further adding to the sonic ecstasy that by this point is so intense that it’s almost unbearable. (There’s a particularly wonderful moment at 3:20, when Keith does this rude little descending two-note combination-lick that just makes me glad to be alive).
The SOUND of this track is just so phenomenal; an open-G fest if there ever was one. I could listen to this riff all day every day and never get bored. And that propulsive, strutting groove, showing the world how it’s done, reminding us that, rhythmically, no one has ever or will ever be able to touch the Stones.
This is DEVIL’s music, son; rock and roll of the purest and finest grade, mainlining right to the jugular; the louder you play this one, the better it gets. I love Soul Survivor, its cousin, but this one is even more amazing. It’s probably the most shamefully under-rated track from what may be the Stones’ most shamefully under-rated album. Having coming off the stellar success of Tattoo You, they were still floating, still on top of the world when they recorded this one, and the confidence, the fvck-you-we’re-the-fukkin-Rolling-Stones-so-go-fvck-yerself bravado, is truly breathtaking.
Drew
Re: Track Talk: It Must Be Hell
Posted by:
Pete66
()
Date: October 27, 2011 14:43
Mediocre song from a disappointing album after the brilliant Tattoo You.
Pete.
Pete.
Re: Track Talk: It Must Be Hell
Posted by:
Bashlets
()
Date: October 27, 2011 15:20
the chorus, and "we are heaven bound" are great and so is the riff. Jagger's nasally vocal on the verses is just plain horrible.
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