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flilflam
Keno's ROLLING STONES Web Site
ROLLING STONES LYRICS
SOUL SURVIVOR
Song recorded between December 1971 and March, 1972. Released on Exile On Main Street in 1972.
Alternative take released on May 18, 2010 as a bonus track to Exile; it has different lyrics, but the same music, with Keith Richards singing the lead vocals instead of Mick Jagger.
Lead Vocal: Mick Jagger Slide Guitar: Mick Taylor Rhythm Guitar, Bass Backing Vocals: Keith Richards Drums: Charlie Watts Piano: Nicky Hopkins
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flilflam
gives him black eyes and a bloody nose
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Mathijs
Another crap entry from Keno.
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elunsi
I think it is ONE example of how they write.
An entire disc full of songs is presented this way on Voodoo Stew. "Keith Richards' Voodoo Lounge"Quote
elunsi
I think it is ONE example of how they write.
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elunsi
I think Keith´s lyrics here are not a very good example of his lyric-writing skills
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with sssoulQuote
flilflam
gives him black eyes and a bloody nose
er ... listen again: his big blind eye and his swollen nose are metaphors for another body part, right?
the "she" could be Anita, or not. it doesn't have to be about any particular woman, does it?
there was no shortage of hot babes around, and after all these aren't meant as lyrics:
it's a demo, and these are just sounds - vowel movement
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elunsi
I think Keith´s lyrics here are not a very good example of his lyric-writing skills
yeah, as people (including me) have noted it's not meant to be a lyric, just sounds.
we talked about this a bit in another recent thread ... ah here it is: [www.iorr.org]
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Rocky Dijon
It's a nonsense guide vocal. "Vowel movements" as they call it. It's about as relevant as the lyrics to "Andrew's Blues." It's not indicative of Keith's lyrics nor is it likely relevant to anything whatsoever. It's a curio at best.
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Naturalust
I think it's a great example of how Keith and Mick write, with Keith providing this level of writing, at best, and Mick finishing the job. And I hate to say it but 95% of the work is usually in the last 5% of the job. Get it Done, man.
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DoxaQuote
Naturalust
I think it's a great example of how Keith and Mick write, with Keith providing this level of writing, at best, and Mick finishing the job. And I hate to say it but 95% of the work is usually in the last 5% of the job. Get it Done, man.
Exactly. The song has pretty much the same vibe as many Keith's Winos stuff. What Keith is interested is the sound, the riff, the feel of the song. He sets the whole atmsophere there. But he sounds lazy in finishing the stuff; the melodies are just some rough sketches flying around the chords. But it also could be that by then - 1971 - Richards has used to that working method that he knew Jagger will continue from where he has left the song, and doesn't feel like even try to finish the melody/lyrics section. Just offers some phrases or clues. Probably he had earlier - think of "Ruby Tuesday" - worked harder in that section too, but as the yaers had passed, he seemed to have turned more lazier and lazier in that sense, and finally couldn't much think of making songs otherwise. Jagger commented once Keith's solo album that it sounded like the typical rough song sketches what Keith offers him to finish. And if we look the way Keith describes making his recent ballads in LIFE, that is also just un-disciplined, intuitive, going along the wave kind of thing. Creates them while singing them on tape. Of course, you can hear that in results as well. It has its charm of catching the moment and feel but sometimes it get a bit annoying as well, especially in lyrics section and all those "baby, baby, baby" things, ec.
Like Naturalist hints, Jagger's contribution in finishing the song is over-looked easily. He is simply incredibly talented in finding a suitable melody hooks, the right terms, that is: both musical and lyrical stories. If we would have only get this Keef version of "Soul Survivor" first, listened it for years, and then, suddenly introduced to the final version, we all would look at it our mouths open! There is so much more in it. The step forward is actually enermous, and the charm in that section is, for example, something I found irrestible in the first place. The melody and lyrics - the story - is so rich and flows so naturally. Full of little genious ideas. One could say that the song actually is done in that Jagger's creative process. But then again, without that increcible templete Keith has already offered to him, there wouldn't have that song in the first place.
Damn those two made an incredible song-writing team in their prime!
- Doxa
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elunsi
I didn´t want to talk about the lyrics. But you brougth up that quote.
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elunsi
I am interested in if we know more about the stage of that recording. How far was the progress
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DoxaQuote
Naturalust
I think it's a great example of how Keith and Mick write, with Keith providing this level of writing, at best, and Mick finishing the job. And I hate to say it but 95% of the work is usually in the last 5% of the job. Get it Done, man.
Exactly. The song has pretty much the same vibe as many Keith's Winos stuff. What Keith is interested is the sound, the riff, the feel of the song. He sets the whole atmsophere there. But he sounds lazy in finishing the stuff; the melodies are just some rough sketches flying around the chords. But it also could be that by then - 1971 - Richards has used to that working method that he knew Jagger will continue from where he has left the song, and doesn't feel like even try to finish the melody/lyrics section. Just offers some phrases or clues. Probably he had earlier - think of "Ruby Tuesday" - worked harder in that section too, but as the yaers had passed, he seemed to have turned more lazier and lazier in that sense, and finally couldn't much think of making songs otherwise. Jagger commented once Keith's solo album that it sounded like the typical rough song sketches what Keith offers him to finish. And if we look the way Keith describes making his recent ballads in LIFE, that is also just un-disciplined, intuitive, going along the wave kind of thing. Creates them while singing them on tape. Of course, you can hear that in results as well. It has its charm of catching the moment and feel but sometimes it get a bit annoying as well, especially in lyrics section and all those "baby, baby, baby" things, ec.
Like Naturalist hints, Jagger's contribution in finishing the song is over-looked easily. He is simply incredibly talented in finding a suitable melody hooks, the right terms, that is: both musical and lyrical stories. If we would have only get this Keef version of "Soul Survivor" first, listened it for years, and then, suddenly introduced to the final version, we all would look at it our mouths open! There is so much more in it. The step forward is actually enermous, and the charm in that section is, for example, something I found irrestible in the first place. The melody and lyrics - the story - is so rich and flows so naturally. Full of little genious ideas. One could say that the song actually is done in that Jagger's creative process. But then again, without that increcible templete Keith has already offered to him, there wouldn't have that song in the first place.
Damn those two made an incredible song-writing team in their prime!
- Doxa