Tell Me :
Talk
I can feel yer passion Drew. Great description.
Why forget Bill
His bass is just as cool and important as the other elements to this song!
Edited 1 time(s). Last edit at 2014-08-04 12:01 by Rollin92.
Quite the contrary. While I am either rather or a little cold about many of the songs on TATTOO YOU, also this one, probably much due to the arrangements and sound of the album as a whole, I would have loved to be presented to a live version. Both to possibly like that live version in another arrangement and hopefully with that get a better impression of the studio version as well. Because I would want to like as much as possible of this band's releases.
What's wrong with the arrangement?!?
And how do you find the extended version of the Virgin TY-cds?
Thanks Mike! And excellent question you raise about PT!
Agree 100%! I just ran out of words.
Drew
Black And Blue-Slave:
Welcome back Doxa. Not heard from you for a while. Hope all well.
Hastily written during working hour in too short time:
What I wrote about arrangements and sound referred not to “Slave” isolated, but mainly to how I react to the album TATTOO YOU as a whole. There this album for me would have needed more heavy, as contrasted to light, arrangements and sound, with it its many calm melodies. Alternatively for instance more noisy guitars. Maybe that is my reaction especially because of the profusedly scattered falsetto and falsettolike voices around this album, both where it might be relevant, where it might be OK, and where it is not (with “Hang Fire” especially on my mind, with its lyrics). Not that I have been or am opposed to any such use of voice on another albums . Or against light sound (against contrasted with heavy sound) , for instance on AFTERMATH as an album with light sound. I do like the provocatory falsetto voice on the song “Emotional Rescue”, but I also in that song find a musical arrangement more suited for it, and, besides, Jagger’s voice also assumes some other nuances there. Or “Fool to Cry”, where I do like it. However, in this context towards all those songs on the album TATTOO YOU, that is my reaction. - By the way, I have never liked anything I have heard from Prince. But neither have I bothered to cheque him out.
I cannot say so much about the song “Slave” isolated at the moment, especially not when challenged. I have not listened to this song or that album recently. When I all the same responded to one post regarding the song, it was to express my interest in hearing the song in a live context where I possibly might like it, instead of excluding it, only because I have not fancied, where it now features. My post, of course, had an element of distancing myself from a song as well, (sometimes also I need examples indicating that I do not positive like absolutely everything from the Stones to the same degree), but with an opening towards what might lead me to reform my view to some extent.
Now back to work.
Your views maybe me mysterious, but quite a lot of noise about this track in this thread, provoked by who knows who..: [www.iorr.org]
- Doxa
Let me clarify then. I adore this song.
Talk about your favorite band.
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Track Talk: Slave
Posted by:
René
()
Date: August 4, 2014 09:08
Comments, input and alterations are very welcome!
_______________________________________________________________________________
Slave
(Mick Jagger / Keith Richards)
Rolling Stones Mobile Recording Unit, De Doelen, Rotterdam, Netherlands,
January 22 - February 9, 1975, Pathé Marconi Studios (EMI Studios),
Boulogne-Billancourt, Paris, France, October 11 - November 12, 1980 and
Atlantic Studios, New York City, New York, US, April - June 1981
Mick Jagger - lead vocals, backing vocals
Keith Richards - electric guitar, backing vocals
Charlie Watts - drums
Bill Wyman - bass
Ron Wood - electric guitar
Ian Stewart - piano
Billy Preston - organ
Sonny Rollins - saxophone
Ollie Brown - percussion
Mike Carabello - percussion
Pete Townshend - backing vocals
Do it, do it, do it, do it, do it
Do it, do it, do it, do it, do it
Do it, do it, do it, do it
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Twenty four hours a day
Hey, why don't you go down to the supermarket
Get something to eat, steal something of the shelves
Pass by the liquor store, be back about a quarter to twelve
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Yeah baby, yeah baby
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Yeah
Do it, do it, do it, do it, do it
Do it, do it, do it, do it, do it
Produced by The Glimmer Twins
First released on:
The Rolling Stones - “Tattoo You” LP
(Rolling Stones Records COC 16052) US, August 18, 1981
Edited 1 time(s). Last edit at 2014-08-25 14:49 by René.
_______________________________________________________________________________
Slave
(Mick Jagger / Keith Richards)
Rolling Stones Mobile Recording Unit, De Doelen, Rotterdam, Netherlands,
January 22 - February 9, 1975, Pathé Marconi Studios (EMI Studios),
Boulogne-Billancourt, Paris, France, October 11 - November 12, 1980 and
Atlantic Studios, New York City, New York, US, April - June 1981
Mick Jagger - lead vocals, backing vocals
Keith Richards - electric guitar, backing vocals
Charlie Watts - drums
Bill Wyman - bass
Ron Wood - electric guitar
Ian Stewart - piano
Billy Preston - organ
Sonny Rollins - saxophone
Ollie Brown - percussion
Mike Carabello - percussion
Pete Townshend - backing vocals
Do it, do it, do it, do it, do it
Do it, do it, do it, do it, do it
Do it, do it, do it, do it
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Twenty four hours a day
Hey, why don't you go down to the supermarket
Get something to eat, steal something of the shelves
Pass by the liquor store, be back about a quarter to twelve
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Yeah baby, yeah baby
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Don't wanna be your slave, don't wanna be your slave, don't wanna be your slave
Yeah
Do it, do it, do it, do it, do it
Do it, do it, do it, do it, do it
Produced by The Glimmer Twins
First released on:
The Rolling Stones - “Tattoo You” LP
(Rolling Stones Records COC 16052) US, August 18, 1981
Edited 1 time(s). Last edit at 2014-08-25 14:49 by René.
Re: Track Talk: Slave
Posted by:
Silver Dagger
()
Date: August 4, 2014 09:53
Curious song that obviously came out of a studio jam. Fits in well on Tattoo You and is kind of a sister song to Worried About You with its lazy feel, and building r'n'b groove.
Does anybody know how Townshend came to add backing vocals to this? It's not that PT is exactly known for his vocal prowess???
Edited 1 time(s). Last edit at 2014-08-04 10:00 by Silver Dagger.
Does anybody know how Townshend came to add backing vocals to this? It's not that PT is exactly known for his vocal prowess???
Edited 1 time(s). Last edit at 2014-08-04 10:00 by Silver Dagger.
Re: Track Talk: Slave
Posted by:
drewmaster
()
Date: August 4, 2014 09:59
Holy mother of mercy, what can I possibly say about Slave? It is a titanic, mind-bending sonic orgasm. A cathartic, life-altering masterpiece. A stunning, soul-affirming paean to freedom, an ode to liberating oneself from the shackles of oppression, whether they come from society, from another individual, or from within oneself. Slave is more than a cry of revolt, it is a thunderous repudiation of tyranny and injustice.
The first few seconds of the track are, in and of themselves, miraculous. Those deeply-satisfying thuds from Charlie, in perfect contrast to the percussive tapping from Ollie Brown that subtly evokes the clink of chains holding the enslaved against their will … have you ever heard something so outrageously funky? (Well okay, maybe at the beginning of HTW…).
And then what will always be, in my heart, the bark of a junk-yard dog, welcoming in that incredible, monster riff from Keith. Sinewy and sinuous, snarling and snaking its way through Charlie’s drumming, Keith’s guitar is like a demon from the underworld, an avenging spirit forever banishing the hideous crime of slavery from this world. Majestic and proud, with licks that would make even Buddy Guy jealous, Keith shows the world what playing the blues is really all about.
And let’s not forget Mr Michael Philip Jagger (with a little help from Pete Townsend), who is at the top of his game, yelping and wailing like an escaped banshee from hell. Mick conjures up so much pain, so much violence and depravity, in his performance here.
And then, the icing on the cake … that glorious, swinging, soaring sax from the great Sonny Rollins. Words cannot really express how important his contribution is here, how much depth and vitality he brings to this track. And the same goes for Billy Preston’s brilliant, soulful keyboards. Indeed, everything syncs up here so perfectly, it is a miracle beyond words, and I would argue that nowhere in the Stones canon is there a finer example of their alchemy and genius.
Ultimately, it is the sound of Slave that is just so mind-blowing … Charlie’s drums, Keith’s guitar-work, and Sonny’s sax truly leap out of the speakers and envelope the listener, bathing him or her in an experience that liberates the spirit and redeems the soul.
Six and a half minutes of sheer sonic ecstasy; play this one LOUD, baby!!! This is why I love the Rolling Stones with all my heart.
Drew
Edited 1 time(s). Last edit at 2014-08-05 15:09 by drewmaster.
The first few seconds of the track are, in and of themselves, miraculous. Those deeply-satisfying thuds from Charlie, in perfect contrast to the percussive tapping from Ollie Brown that subtly evokes the clink of chains holding the enslaved against their will … have you ever heard something so outrageously funky? (Well okay, maybe at the beginning of HTW…).
And then what will always be, in my heart, the bark of a junk-yard dog, welcoming in that incredible, monster riff from Keith. Sinewy and sinuous, snarling and snaking its way through Charlie’s drumming, Keith’s guitar is like a demon from the underworld, an avenging spirit forever banishing the hideous crime of slavery from this world. Majestic and proud, with licks that would make even Buddy Guy jealous, Keith shows the world what playing the blues is really all about.
And let’s not forget Mr Michael Philip Jagger (with a little help from Pete Townsend), who is at the top of his game, yelping and wailing like an escaped banshee from hell. Mick conjures up so much pain, so much violence and depravity, in his performance here.
And then, the icing on the cake … that glorious, swinging, soaring sax from the great Sonny Rollins. Words cannot really express how important his contribution is here, how much depth and vitality he brings to this track. And the same goes for Billy Preston’s brilliant, soulful keyboards. Indeed, everything syncs up here so perfectly, it is a miracle beyond words, and I would argue that nowhere in the Stones canon is there a finer example of their alchemy and genius.
Ultimately, it is the sound of Slave that is just so mind-blowing … Charlie’s drums, Keith’s guitar-work, and Sonny’s sax truly leap out of the speakers and envelope the listener, bathing him or her in an experience that liberates the spirit and redeems the soul.
Six and a half minutes of sheer sonic ecstasy; play this one LOUD, baby!!! This is why I love the Rolling Stones with all my heart.
Drew
Edited 1 time(s). Last edit at 2014-08-05 15:09 by drewmaster.
Re: Track Talk: Slave
Posted by:
Silver Dagger
()
Date: August 4, 2014 10:01
Quote
drewmaster
Holy mother of mercy, what can I possibly say about Slave? It is a titanic, mind-bending sonic orgasm. A cathartic, life-altering masterpiece. A stunning, soul-affirming paean to freedom, an ode to liberating oneself from the shackles of oppression, whether they come from society, from another individual, or from within oneself. Slave is more than a cry of revolt, it is a thunderous repudiation of tyranny and injustice.
The first few seconds of the track are, in and of themselves, miraculous. Those deeply-satisfying thuds from Charlie, in perfect contrast to the percussive tapping from Ollie Brown that subtly evokes the clink of chains holding the enslaved against their will … have you ever heard something so outrageously funky? (Well okay, maybe at the beginning of HTW…).
And then what will always be, in my heart, the bark of a junk-yard dog, welcoming in that incredible, monster riff from Keith. Sinewy and sinuous, snarling and snaking its way through Charlie’s drumming, Keith’s guitar is like a demon from the underworld, an avenging spirit forever banishing the hideous crime of slavery from this world. Majestic and proud, with licks that would make even Buddy Guy jealous, Keith shows the world what playing the blues is really all about.
And let’s not forget Mr Michael Philip Jagger (with a little help from Pete Townsend), who is at the top of his game, yelping and wailing like an escaped banshee from hell. I have never heard another artist who can conjure up so much pain, so much violence and depravity, who can mesmerize the listener so completely by just the subtle inflections in his vocal mannerisms.
And then, the icing on the cake … that glorious, swinging, soaring sax from the great Sonny Rollins. Words cannot really express how important his contribution is here, how much depth and vitality he brings to this track. And the same goes for Billy Preston’s brilliant, soulful keyboards. Indeed, everything syncs up here so perfectly, it is a miracle beyond words, and I would argue that nowhere in the Stones canon is there a finer example of their alchemy and genius.
Ultimately, it is the sound of Slave that is just so mind-blowing … Charlie’s drums, Keith’s guitar-work, and Sonny’s sax truly leap out of the speakers and envelope the listener, bathing him or her in an experience that liberates the spirit and redeems the soul.
Six and a half minutes of sheer sonic ecstasy; play this one LOUD, baby!!! This is why I love the Rolling Stones with all my heart.
Drew
I can feel yer passion Drew. Great description.
Re: Track Talk: Slave
Posted by:
DandelionPowderman
()
Date: August 4, 2014 10:27
Great, great track!
But I really doubt that they kept Ronnie's guitar here. 100% Keith.
But I really doubt that they kept Ronnie's guitar here. 100% Keith.
Re: Track Talk: Slave
Posted by:
Ruby Friday
()
Date: August 4, 2014 11:20
Slave ? I don't really know, I'm just glad they don't to it Live !
Re: Track Talk: Slave
Posted by:
Come On
()
Date: August 4, 2014 11:36
Great track as all track is on a Classic Stones-album like Tattoo You...
2 1 2 0
2 1 2 0
Re: Track Talk: Slave
Posted by:
Rollin92
()
Date: August 4, 2014 12:00
Quote
drewmaster
Holy mother of mercy, what can I possibly say about Slave? It is a titanic, mind-bending sonic orgasm. A cathartic, life-altering masterpiece. A stunning, soul-affirming paean to freedom, an ode to liberating oneself from the shackles of oppression, whether they come from society, from another individual, or from within oneself. Slave is more than a cry of revolt, it is a thunderous repudiation of tyranny and injustice.
The first few seconds of the track are, in and of themselves, miraculous. Those deeply-satisfying thuds from Charlie, in perfect contrast to the percussive tapping from Ollie Brown that subtly evokes the clink of chains holding the enslaved against their will … have you ever heard something so outrageously funky? (Well okay, maybe at the beginning of HTW…).
And then what will always be, in my heart, the bark of a junk-yard dog, welcoming in that incredible, monster riff from Keith. Sinewy and sinuous, snarling and snaking its way through Charlie’s drumming, Keith’s guitar is like a demon from the underworld, an avenging spirit forever banishing the hideous crime of slavery from this world. Majestic and proud, with licks that would make even Buddy Guy jealous, Keith shows the world what playing the blues is really all about.
And let’s not forget Mr Michael Philip Jagger (with a little help from Pete Townsend), who is at the top of his game, yelping and wailing like an escaped banshee from hell. I have never heard another artist who can conjure up so much pain, so much violence and depravity, who can mesmerize the listener so completely by just the subtle inflections in his vocal mannerisms.
And then, the icing on the cake … that glorious, swinging, soaring sax from the great Sonny Rollins. Words cannot really express how important his contribution is here, how much depth and vitality he brings to this track. And the same goes for Billy Preston’s brilliant, soulful keyboards. Indeed, everything syncs up here so perfectly, it is a miracle beyond words, and I would argue that nowhere in the Stones canon is there a finer example of their alchemy and genius.
Ultimately, it is the sound of Slave that is just so mind-blowing … Charlie’s drums, Keith’s guitar-work, and Sonny’s sax truly leap out of the speakers and envelope the listener, bathing him or her in an experience that liberates the spirit and redeems the soul.
Six and a half minutes of sheer sonic ecstasy; play this one LOUD, baby!!! This is why I love the Rolling Stones with all my heart.
Drew
Why forget Bill
His bass is just as cool and important as the other elements to this song!Edited 1 time(s). Last edit at 2014-08-04 12:01 by Rollin92.
Re: Track Talk: Slave
Posted by:
dcba
()
Date: August 4, 2014 12:42
On top of that this track has the sexiest juiciest Hammond organ sound ever recorded... 
Edited 1 time(s). Last edit at 2014-08-04 12:42 by dcba.
Edited 1 time(s). Last edit at 2014-08-04 12:42 by dcba.
Re: Track Talk: Slave
Posted by:
Witness
()
Date: August 4, 2014 12:44
Quote
Ruby Friday
Slave ? I don't really know, I'm just glad they don't to it Live !
Quite the contrary. While I am either rather or a little cold about many of the songs on TATTOO YOU, also this one, probably much due to the arrangements and sound of the album as a whole, I would have loved to be presented to a live version. Both to possibly like that live version in another arrangement and hopefully with that get a better impression of the studio version as well. Because I would want to like as much as possible of this band's releases.
Re: Track Talk: Slave
Posted by:
OzHeavyThrobber
()
Date: August 4, 2014 12:45
Grrrrrrrrrrrrrrrrrrrrreat f$%^&king song!
Re: Track Talk: Slave
Posted by:
DandelionPowderman
()
Date: August 4, 2014 12:58
Quote
WitnessQuote
Ruby Friday
Slave ? I don't really know, I'm just glad they don't to it Live !
Quite the contrary. While I am either rather or a little cold about many of the songs on TATTOO YOU, also this one, probably much due to the arrangements and sound of the album as a whole, I would have loved to be presented to a live version. Both to possibly like that live version in another arrangement and hopefully with that get a better impression of the studio version as well. Because I would want to like as much as possible of this band's releases.
What's wrong with the arrangement?!?
And how do you find the extended version of the Virgin TY-cds?
Re: Track Talk: Slave
Posted by:
Doxa
()
Date: August 4, 2014 13:00
The track derives from BLACK AND BLUE sessions, right? It surely has that sexy, dirty, decadent, matured, a bit lazy but damn funky/junky feel and groove from that time frame, that was actually gone by 1981 (by 1977/78 to be precise).
Witness, may I ask you what you find that weak in TATTOO YOU arrangement and sound? I think "Slave" particularly is one of their best sonically produced tracks ever, and I can't think it could sound any better. For example, Keith's guitar has probably almost never sounded more powerful than it does here, and there is nothing wrong with other elements either, like noted by other posters here. Just curious.
- Doxa
Edited 2 time(s). Last edit at 2014-08-04 13:03 by Doxa.
Witness, may I ask you what you find that weak in TATTOO YOU arrangement and sound? I think "Slave" particularly is one of their best sonically produced tracks ever, and I can't think it could sound any better. For example, Keith's guitar has probably almost never sounded more powerful than it does here, and there is nothing wrong with other elements either, like noted by other posters here. Just curious.
- Doxa
Edited 2 time(s). Last edit at 2014-08-04 13:03 by Doxa.
Re: Track Talk: Slave
Posted by:
drewmaster
()
Date: August 4, 2014 13:03
Quote
Silver Dagger
I can feel yer passion Drew. Great description.
Thanks Mike! And excellent question you raise about PT!
Quote
Rollin92
Why forget Bill
Agree 100%! I just ran out of words.
Drew
Re: Track Talk: Slave
Posted by:
DandelionPowderman
()
Date: August 4, 2014 13:08
Quote
Doxa
The track derives from BLACK AND BLUE sessions, right? It surely has that sexy, dirty, decadent, matured, a bit lazy but damn funky/junky feel and groove from that time frame, that was actually gone by 1981 (by 1977/78 to be precise).
Witness, may I ask you what you find that weak in TATTOO YOU arrangement and sound? I think "Slave" particularly is one of their best sonically produced tracks ever, and I can't think it could sound any better. For example, Keith's guitar has probably almost never sounded more powerful than it does here, and there is nothing wrong with other elements either, like noted by other posters here. Just curious.
- Doxa
Black And Blue-Slave:
Re: Track Talk: Slave
Posted by:
Silver Dagger
()
Date: August 4, 2014 13:13
Quote
Doxa
The track derives from BLACK AND BLUE sessions, right? It surely has that sexy, dirty, decadent, matured, a bit lazy but damn funky/junky feel and groove from that time frame, that was actually gone by 1981 (by 1977/78 to be precise).
Witness, may I ask you what you find that weak in TATTOO YOU arrangement and sound? I think "Slave" particularly is one of their best sonically produced tracks ever, and I can't think it could sound any better. For example, Keith's guitar has probably almost never sounded more powerful than it does here, and there is nothing wrong with other elements either, like noted by other posters here. Just curious.
- Doxa
Welcome back Doxa. Not heard from you for a while. Hope all well.
Re: Track Talk: Slave
Posted by:
Doxa
()
Date: August 4, 2014 13:31
Thanks, Silvery. It has been a lovely hot summer here in Finland, and haven't spent too much time near computers... And it is good to have some time out of IORR sometimes.
Everything's fine!
- Doxa
P.S. Just saw two great concerts, a Dylan and a Patti Smith one - both in Pori Jazz Festival in Finland under the sweetest sun, both first row. Dylan is as strong as he is nowadays (totally changed his set list from the November Milan show I saw from him), but Smith really surprised me positively. Blew me away actually!
Everything's fine!- Doxa
P.S. Just saw two great concerts, a Dylan and a Patti Smith one - both in Pori Jazz Festival in Finland under the sweetest sun, both first row. Dylan is as strong as he is nowadays (totally changed his set list from the November Milan show I saw from him), but Smith really surprised me positively. Blew me away actually!
Re: Track Talk: Slave
Posted by:
Rockman
()
Date: August 4, 2014 13:32
Working title for track was Vagina....
First release on CD/Vinyl running time 4.55
Reissued on CD for Virgin running time 6.30
ROCKMAN
First release on CD/Vinyl running time 4.55
Reissued on CD for Virgin running time 6.30
ROCKMAN
Re: Track Talk: Slave
Posted by:
TheGreek
()
Date: August 4, 2014 13:43
my favorite track from tatto you .please glimmers play this one live .this was meant to be played live with the funky sax solo and keef's guitar and the hammond b-3 and charlie playing the drums and mick singing do it do it dont wanna be your slave !!!!!!!!!!!!!!!!
Re: Track Talk: Slave
Posted by:
noughties
()
Date: August 4, 2014 15:14
Keith is a ramp. (a rabble)
Edited 1 time(s). Last edit at 2014-08-04 16:01 by noughties.
Edited 1 time(s). Last edit at 2014-08-04 16:01 by noughties.
Re: Track Talk: Slave
Posted by:
bitusa2012
()
Date: August 4, 2014 15:45
Awful. Sorry, it's just not The Stones that I love, it's just a warmup that truthfully goes nowhere....not for me.
Re: Track Talk: Slave
Posted by:
Witness
()
Date: August 4, 2014 15:53
Quote
Doxa
The track derives from BLACK AND BLUE sessions, right? It surely has that sexy, dirty, decadent, matured, a bit lazy but damn funky/junky feel and groove from that time frame, that was actually gone by 1981 (by 1977/78 to be precise).
Witness, may I ask you what you find that weak in TATTOO YOU arrangement and sound? I think "Slave" particularly is one of their best sonically produced tracks ever, and I can't think it could sound any better. For example, Keith's guitar has probably almost never sounded more powerful than it does here, and there is nothing wrong with other elements either, like noted by other posters here. Just curious.
- Doxa
Hastily written during working hour in too short time:
What I wrote about arrangements and sound referred not to “Slave” isolated, but mainly to how I react to the album TATTOO YOU as a whole. There this album for me would have needed more heavy, as contrasted to light, arrangements and sound, with it its many calm melodies. Alternatively for instance more noisy guitars. Maybe that is my reaction especially because of the profusedly scattered falsetto and falsettolike voices around this album, both where it might be relevant, where it might be OK, and where it is not (with “Hang Fire” especially on my mind, with its lyrics). Not that I have been or am opposed to any such use of voice on another albums . Or against light sound (against contrasted with heavy sound) , for instance on AFTERMATH as an album with light sound. I do like the provocatory falsetto voice on the song “Emotional Rescue”, but I also in that song find a musical arrangement more suited for it, and, besides, Jagger’s voice also assumes some other nuances there. Or “Fool to Cry”, where I do like it. However, in this context towards all those songs on the album TATTOO YOU, that is my reaction. - By the way, I have never liked anything I have heard from Prince. But neither have I bothered to cheque him out.
I cannot say so much about the song “Slave” isolated at the moment, especially not when challenged. I have not listened to this song or that album recently. When I all the same responded to one post regarding the song, it was to express my interest in hearing the song in a live context where I possibly might like it, instead of excluding it, only because I have not fancied, where it now features. My post, of course, had an element of distancing myself from a song as well, (sometimes also I need examples indicating that I do not positive like absolutely everything from the Stones to the same degree), but with an opening towards what might lead me to reform my view to some extent.
Now back to work.
Re: Track Talk: Slave
Posted by:
DandelionPowderman
()
Date: August 4, 2014 16:31
There is a "side A" on TY as well, Witness 
After Miss You and Emotional Rescue I guess people expected more falsetto on TY... Personally, I find it beautifully done on Worried About You, Tops and Waiting On A Friend.
After Miss You and Emotional Rescue I guess people expected more falsetto on TY... Personally, I find it beautifully done on Worried About You, Tops and Waiting On A Friend.
Re: Track Talk: Slave
Posted by:
big4
()
Date: August 4, 2014 16:36
"Slave" is a perfect example of what has been lost in the Stones studio recordings since '89. This is a band that needs to jam, to find the groove, ride it and then end up with 40 minute versions of songs edited to 4 or so minutes. It's great that Jagger can come in with complete songs but it too much turns the Stones into backing musicians and not a tour de force band that plays a song into and out of shape before finding the essence of the tune.
"Slave" is the centerpiece song of the first side of TTY. Too bad they haven't played it live more frequently over the years.
"Slave" is the centerpiece song of the first side of TTY. Too bad they haven't played it live more frequently over the years.
Re: Track Talk: Slave
Posted by:
treaclefingers
()
Date: August 4, 2014 17:07
I think my views on this track have been well publicized.
DO AAAAAAAAAT!
DO AAAAAAAAAT!
Re: Track Talk: Slave
Posted by:
Doxa
()
Date: August 4, 2014 18:04
Quote
treaclefingers
I think my views on this track have been well publicized.
DO AAAAAAAAAT!
Your views maybe me mysterious, but quite a lot of noise about this track in this thread, provoked by who knows who..: [www.iorr.org]
- Doxa
Re: Track Talk: Slave
Posted by:
treaclefingers
()
Date: August 4, 2014 18:51
Quote
DoxaQuote
treaclefingers
I think my views on this track have been well publicized.
DO AAAAAAAAAT!
Your views maybe me mysterious, but quite a lot of noise about this track in this thread, provoked by who knows who..: [www.iorr.org]
- Doxa
Let me clarify then. I adore this song.
Re: Track Talk: Slave
Posted by:
Pietro
()
Date: August 4, 2014 20:46
I really like the opening guitar chords. They sound predatory!
Re: Track Talk: Slave
Posted by:
mgguy
()
Date: August 4, 2014 21:20
actually heard it on the radio the other day.
my fingers shot to the volume control instantly-loud and menacing!
What an effing masterpiece of purely sublime,groovy,funky rock history.
my fingers shot to the volume control instantly-loud and menacing!
What an effing masterpiece of purely sublime,groovy,funky rock history.
Re: Track Talk: Slave
Posted by:
SimonN
()
Date: August 4, 2014 21:30
Hello,
I love the feel...the real groove that this cut has. To my jaded ears it ranks right up there with the band's best work: I don't know how you could improve it. A real enduring number- gonna listen to it now!
Cheers,
Simon.
I love the feel...the real groove that this cut has. To my jaded ears it ranks right up there with the band's best work: I don't know how you could improve it. A real enduring number- gonna listen to it now!
Cheers,
Simon.
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