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Doxa
Yeah - to continue the theme discussed by Edward Twining - by the mid-70's they probaly emptied they pockets of certain riff-based rockers they had mastered in EXILE. GOATS HEAD SOUP only has "Star Sar" which is a kind of cartoon version of traditional berry-rocker. IORR they try to get there again but with non-inspired results, a'la "If You Can't Rock Me" and "Dance Little Sister". By contrast, they seemed to leave that deprtment out in BLACK & BLUE and try to find new tricks. "Crazy Mama" belong to still that category even though they have a new big 'fattier' and 'deeper' sound. Another and certainly better example is "Hand of Fate" where they sound actually mature and fresh. It has a certain depthness in it a s a rocker. More 'black and blue', actually. Funnily, it has a distinctive Tayloresque solo Taylor himself never had room to shine in studio... I wonder if they really did that in purpose to show Taylor and everyone else that his place can be easily filled if they feel like....
Now comparing IORR and B&B they are interesting albums showing the band at cross-roads. There are some elements of the future in IORR, such as teh funkiness of "Fingerprint File", the ryhthm experients of "Luxury" to find a new groove, etc but those are not really stressed much but instead the album relies heavily on the old tricks, and like still trying to milk out whatever they can from their old sounds of which they had made masterpieces just a few yaers ago (and for eaxmple, they perfected the ballad section of that style in GHS). In B&B those new experiments are in front, and the old style is just in the marginal. The opening track is a statement of the new groove, and the heavy ballads are not made to please teenager hearts, but sound full and mature. The contrast of Jagger, in terms of song delivery and tone, of IORR and B&B is a huge one. Now in hindsight one could say that Jagger shows in IORR early signs of formulaic 'peter pan' nasal delivery he has been famous since the late 80's. In B&B those are gone, and a new matured voice is present. In SOME GIRLS he found totally a new spark to his voice.
- Doxa
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DandelionPowderman
Some great songs, horrendous production, imo.
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liddas
DP
what do you mean for "horrendous" production?
C
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MadMax
I really like the way people respect and talk about Black & Blue, one of my fave albums.
IORR is also great but yeah, the dolby, the dolby!
GHS's production is really a big element of the album and helps the songs reach higher levels, except for maybe on DWMD.
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Doxa
Now in hindsight one could say that Jagger shows in IORR early signs of formulaic 'peter pan' nasal delivery he has been famous since the late 80's. In B&B those are gone, and a new matured voice is present. In SOME GIRLS he found totally a new spark to his voice.
- Doxa
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tommyquinn
This was my second Stones album (GHS being the first.) I always thought the way the first three songs naturally flowed into each other was brilliant. Especially when ATPTB stops and IORR starts right up. The effect is lost on CD reissues, but on the original vinyl- perfection. There are definitely other Stones albums that are "better", but this one is dear to me, as it was the first one I actually bought. (GHS was a gift.) I wore out the grooves on both these albums, knew every note, every yelp and howl that Jagger made, every solo, every drum beat...still brings me back to my childhood.
All in all, not much insight, just a few comments on how what some consider a mediocre Stones album changed my life.
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Redhotcarpet
Yup this is maybe the first record where you can hear they are trying to copy the somebody elses sound.
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KeithNacho
I think is the last real classic RS album; after that, i like a lot the RW cera, buat are very different RS.
That's why i think that IORR is a very great album, "maybe" the last one
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loog droogQuote
Redhotcarpet
Yup this is maybe the first record where you can hear they are trying to copy the somebody elses sound.
I'd argue that the first record they tried to that was "England's Greatest Hitmakers"...
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RedhotcarpetQuote
loog droogQuote
Redhotcarpet
Yup this is maybe the first record where you can hear they are trying to copy the somebody elses sound.
I'd argue that the first record they tried to that was "England's Greatest Hitmakers"...
They found their own sound (Jimmy Miller) and style but on iorr they try to sound like other bands at the time. I dont think they did that in the early days, you can tell which studio they played in but on iorr it's not about studio. It works great when Mick sings but the murky mix...
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NoCode0680
The title track was the song that really got me into the Stones. I think I was a freshman in high school (around 1994) and I saw the video for IOR&R and I loved the song so much, and thought the video was so funny that I went out and got the album, so it was my first Stones album and I'm sentimental about it. It's not my favorite, but it is the album that introduced me to the wider world of the Stones and not just the early 60's stuff. I think Aftermath came next because right around that same time I heard "Paint It Black" during the credits of "Full Metal Jacket" when it was on cable one night and I was up late doing a school project. That song just floored me.