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Doxa
I take those songs - plus many from WANDERING SPIRIT - as a proof with which I could sue Jagger for not taking the Stones seriously.
- Doxa

Yes. Exactly. Look, for me WANDERING SPIRIT was an instant winner after first listening. But there was also a feeling like: "Hey,in 1989/90 they made us believe that all was well again with the Stones. And now Mick comes up with a solo album that easily blows all Stones efforts since Tattoo You out of the water. Why? What's the purpose of this album? Was the 1989/90 reunion a lie? What's up next?"

My fear at the time was that it would not be easy to come up with similar strong songs for the next Stones album. And in that respect, Voodoo Lounge did not disappoint me. I loved the single Love Is Strong, I loved The Storm (plus So Young). But when the album arrived, it was, again, just like with Undercover and Dirty Work mixed emotions all over.



Edited 1 time(s). Last edit at 2012-03-29 02:06 by alimente.

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Erik_Snow
[q
If Jagger released a single "Kow Tow / Say You Will" in 1987 and kept the rest of f the whole Primitive Cool album unreleased, we would probably think that we had missed out on a great album; by 80s standards anyway

Agree 100%

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alimente

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Doxa
I take those songs - plus many from WANDERING SPIRIT - as a proof with which I could sue Jagger for not taking the Stones seriously.
- Doxa

Yes. Exactly. Look, for me WANDERING SPIRIT was an instant winner after first listening. But there was also a feeling like: "Hey,in 1989/90 the made us believe that all was well again with the Stones. And now Mick comes up with a solo album that easily blows all Stones efforts since Tattoo You out of the water. Why? What's the purpose of this album? Was the 1989/90 reunion a lie? What's up next?"

My fear at the time was that it would not be easy to come up with similar strong songs for the next Stones album. And in that respect, Voodoo Lounge did not disappoint me. I loved the single Love Is Strong, I loved The Storm (plus So Young). But when the album arrived, it was, again, just like with Undercover and Dirty Work mixed emotions all over.

I recall having same sort of feeling as you at the time. I think WANDERING SPIRIT came out blue, and it somehow confused me. Like you said, it made STEEL WHEELS totally irrelevant, dated, and its whole nature questionable. WANDERING SPIRIT namely was way too good in those areas that used to be the home ground of the Stones. Even the lack of traditional Stones groove was not any problem since we had learned with STEEL WHEELS and DIRTY WORK to live without it. Even though VOODOO LOUNGE tried to refesh the old Stones sound - almost emphasazing that too loud - and it was ear-pleasing in its first listenings - especially "Love is Strong" - I got bored it with quite soon.

I haven't thought it earlier but yeah, maybe the existence of WANDERING SPIRIT was the reason I saw VOODOO LOUNGE pretty mediocre and going through the motions. Actually I lost the interest for many yaers for any Stones-related stuff with that album (even though MAIN OFFENDER already had made me feel that way about Keith Richards). It really sounded a 'cheap' deal in many ways. like the band any not any longer taking thir music seriously. I mean, in contrast to PRIMITIVE COOL STEEL WHEELS was like Jagger going back to form, but this surely was not the case here. Quite contrary.

- Doxa



Edited 3 time(s). Last edit at 2012-03-28 17:12 by Doxa.

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alimente

Funny that you don't even mention Wandering Spirit! Or "Blue".

As for "sounding like being recorded in minutes" - I always thought that this could be said of Main Offender. A handful of nicely crafted songs, but the rest of the album is riffing, riffing, riffing, which is not bad at all but it needs songs, otherwise it can get plain boring, like listening to an endless jam.

Well, as noted many times before, I think that WS is the most insipid solo effort by Jagger. Only Sweet Thing is a true masterpiece. All the rest was already done, and better, on Boss or Cool. Plus, I prefer the kitsch 80's arrangements of Boss and Cool, to the fake retro sound of Spirit.

As for Offender, true, half of the music on it is not in the form of song. And you are not forced to like it. I am a huge Miles Davis fan, but I do not like Bitches Brew. As a matter of fact, Brew is only one or two chords - simple as that - but is unanimously rated as a masterpiece. And I fully agree it is a masterpiece.

Ho many great funk songs are just grooves (JB, Meters, Parliament, you name them). How many blues are only grooves (John Lee Hooker!!!). How many Stones songs are just grooves (1/2 exile and GHS, most Black and Blue, almost all Girls) And I can go on and on.

In fact my point is that Offender is what it is because that is exactly how Keith wanted it to be. And you can just see how much time and efforts he dedicated to the making. Every bar of the "groove" is different from the other. There is a story being told. You start somewhere and end somewhere else. Just try to play any song from Offender. You will be surprised to see on how many levels the music is working.

C

liddas, I hear what you say about MAIN OFFENDER. I think it sounds exactly like Keith wants it to sound. And yeah, there are dimensions in depthness I think no Jagger solo album has, and it is more intersting to 'study' in this sense. It doesn't open so quickly. Keith likes go more 'inside' the music and see what one finds there, than Mick. Your reference to jazz was a good point I think. I see MAIN OFFENDER being like Keith's Final Big Guitar Riff album, like emptying his pockets and saying long goodbyes to the world of Open G. Like he really wanted to throw it all out from his system. And in a way we could say that he hasn't has really much to say as an inventive riff master ever since. But like I said, I don't have ears for those nuances, and I find the album rather boring riff exercise. But that is just a question of individual taste. (But maybe I really should listen the album again.)

But now back to Mick.

- Doxa



Edited 2 time(s). Last edit at 2012-03-28 17:34 by Doxa.

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alimente

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Doxa
I take those songs - plus many from WANDERING SPIRIT - as a proof with which I could sue Jagger for not taking the Stones seriously.
- Doxa

Yes. Exactly. Look, for me WANDERING SPIRIT was an instant winner after first listening. But there was also a feeling like: "Hey,in 1989/90 the made us believe that all was well again with the Stones. And now Mick comes up with a solo album that easily blows all Stones efforts since Tattoo You out of the water. Why? What's the purpose of this album? Was the 1989/90 reunion a lie? What's up next?"

Since the 89 "reunion" Jagger released 2 solo albums and is responsible for most of the songs released as (MJ/KR) songs.

I can't think of a single Jagger song released released under the Stones brand that would not have been a highlight on either Spirit or Goddess.

Reasoning in the other direction, Sweet Thing, Think and Hide Away ... can't think of anything else.

C



Edited 1 time(s). Last edit at 2012-03-28 17:38 by liddas.

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liddas

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alimente

Funny that you don't even mention Wandering Spirit! Or "Blue".

As for "sounding like being recorded in minutes" - I always thought that this could be said of Main Offender. A handful of nicely crafted songs, but the rest of the album is riffing, riffing, riffing, which is not bad at all but it needs songs, otherwise it can get plain boring, like listening to an endless jam.

Well, as noted many times before, I think that WS is the most insipid solo effort by Jagger. Only Sweet Thing is a true masterpiece. All the rest was already done, and better, on Boss or Cool. Plus, I prefer the kitsch 80's arrangements of Boss and Cool, to the fake retro sound of Spirit.

As for Offender, true, half of the music on it is not in the form of song. And you are not forced to like it. I am a huge Miles Davis fan, but I do not like Bitches Brew. As a matter of fact, Brew is only one or two chords - simple as that - but is unanimously rated as a masterpiece. And I fully agree it is a masterpiece.

Ho many great funk songs are just grooves (JB, Meters, Parliament, you name them). How many blues are only grooves (John Lee Hooker!!!). How many Stones songs are just grooves (1/2 exile and GHS, most Black and Blue, almost all Girls) And I can go on and on.

In fact my point is that Offender is what it is because that is exactly how Keith wanted it to be. And you can just see how much time and efforts he dedicated to the making. Every bar of the "groove" is different from the other. There is a story being told. You start somewhere and end somewhere else. Just try to play any song from Offender. You will be surprised to see on how many levels the music is working.

C

Liddas - I respect your posts quite a bit but the idea that Wandering Spirit is retro fake is really off kilter. And Jagger's solo output is sketchy but goes far beyond WS. WS does not work for me as a Stones album. It is too perfect - too clean and is 14/14. However, after the big 4, to me it is the only Stones related effort that does not miss a beat - there is not a single song in WS that I am in-different too. I can't say the same for any Stones album since Exile.

A few years ago, you noted that the X-pensive Winos was Richards's vision for the Stones and Jagger's appalling 1988 tour was Jagger's vision for the Stones live sound. It summarized the Jagger - Richards feud well. I am somewhat in agreement with that. The X-pensive Winos breathe life into so many of the tracks on both Talk is Cheap and Main Offender - tracks that sound flat on record come alive (despite Steve Jordan's ill advised pounding). On record though, there are some good ideas and some good "songs" but it is Richards albums that sound fake retro and in 2012, the sound is quite obsolete. His greatest achievement with his solo efforts is that they don't offend. In an era where every "classic rock" star (from Dylan to Bowie) managed to offend, Jagger, took it up a notch - his trangressions are easily the most offensive. Richards singular achievement is that he did not offend - but the achievement ends there.

In all his solo efforts, Jagger presents himself as he feels at that moment. Many of those moments are beyond ridiculous -but it is Richards who has been faking the idea of "being organic and authentic". He has been doing it in his music and in his style for a long time - it pre-dates his solo efforts



Edited 1 time(s). Last edit at 2012-03-28 17:51 by wanderingspirit66.

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liddas
Ho many great funk songs are just grooves (JB, Meters, Parliament, you name them). How many blues are only grooves (John Lee Hooker!!!). How many Stones songs are just grooves (1/2 exile and GHS, most Black and Blue, almost all Girls) And I can go on and on.
C

Absolutely, but that is not the point. There is a difference between grooves that add to something and -seemingly- aimlessly riffing/grooving along. Boogie Chillen, Sex Machine, Turd On The Run, Dancing With Mr. D, Hot Stuff, When The Whip Comes Down and others are groove/riff-based songs? No problem, they are still songs with recognizable riffs and grooves that stick in your mind after listening. Some of the stuff on Main Offender just simply goes on my nerves after a while. Maybe I did not listen to them often enough. Then again, I never had the desire to do so.

Wandering Spirit "fake retro"? If that's the case, so be it. I'm not into hip labels, I'm into the music itself. It moves me or it does not move me. Everything else is not important.



Edited 2 time(s). Last edit at 2012-03-28 22:19 by alimente.

And, to add a little more fuel to the fire, I heard at the time somewhere between recording and release of Main Offender that Keith and his Winos had a somewhat hard time during the sessions, that they felt it was hard to come up with a "suitable" follow-up to Talk Is Cheap. If that's the case, it can be called a lack of inspiration. Nothing wrong with it, shit happens, but then why record an album at all when you're not exactly inspired to do so? Because the solo deal with Virgin required another studio album here, right now, not later?

In my ears, Main Offender sounds a bit like a contract filler. Some great and good songs (no doubt Hate It When You Leave is a classy tune), but not enough to fill an album. So consequently, there had to be fillers on the album. And those were the riff-groove jamming tunes that more or less sound the same. At least in my ears, but to each their own.

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alimente
..... but then why record an album at all when you're not exactly inspired to do so? Because the solo deal with Virgin required another studio album here, right now, not later?

Now Look was also released because Ronnie had to fill a contract contract; which might explain there are some fillers there.....even though most of the record is very good. It's not as strong, overall, as I Got My Own Album To Do though

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alimente
In my ears, Main Offender sounds a bit like a contract filler. Some great and good songs (no doubt Hate It When You Leave is a classy tune), but not enough to fill an album.

Agree with you there

review from Only Solitaire ( [starling.rinet.ru] )


PRIMITIVE COOL

(released by: MICK JAGGER)

Year Of Release: 1987
Overall rating = 11

What a great album title! This is indeed a record that's 'primitive cool'...

Best song: PARTY DOLL

Track listing: 1) Throwaway; 2) Let's Work; 3) Radio Control; 4) Say You Will; 5) Primitive Cool; 6) Kow Tow; 7) Shoot Off Your Mouth; 8) Peace For The Wicked; 9) Party Doll; 10) War Baby.

Many people simply write off Mick Jagger's solo career as something totally unpalatable and offensive to good taste, and this album is often used as the main pretext. I expected to hate it; I got surprised because I loved it at first listen. To me, this seemed what the Stones' Dirty Work failed to be - a happy, joyful rag-bag of various styles, dumb in some places, intelligent in others, relatively diverse and full of hooks and crunchy guitar riffs all over the place. Jagger almost seems to be happy to finally get out of the Stones, and this is his statement to the whole wide world. Where his first solo album was kinda insecure and ultimately so over-commercial that it became dated within the year of its release, this is an entirely different matter. Not a masterpiece, for sure; and certainly just an ordinary (not bad, though) release by the Stones' own standards, but enjoyable as hell. Why critics tend to dismiss it is way beyond me.

I mean, nobody's gonna pretend that Primitive Cool is not commercial. It is; more than that, it's overtly commercial, it employs just about every type of generic Eighties' production devices, it employs hi-tech synths, it employs drum machines (sometimes) and soulless metallic guitar riffs that Keith Richards would never have used. Not to mention Jagger barking all over the place and the ridiculous "gay video" for 'Just Another Night'. But here's the marvel and here's the wonder: as Mick engulfs himself in all this shit, it actually helps that there's no Keith around. On Dirty Work, it wasn't the horrible production itself that annoyed the shit out of me; it was the realisation that Keith's trademark riffage style and modernistic production are so dang incompatible, reducing all the songs to tuneless, dissonant meshes of cacophony. On Primitive Cool, Mick proclaims 'vocal hook' the day specialty; you may dislike the production and everything, but trying to accuse the actual songs of being poorly written, unmemorable garbage just means a biased attention (which I can't blame anybody for - I used to hate this kind of music, too, before I understood that things are actually more complex than they might seem at first glance).

Seriously, now, there ain't a single song on this album that Mick should ever be ashamed of. He's got himself a fairly impressive band, with Jeff Beck doing much of the guitarwork and Simon Philips bashing out on the drums, when they are drums, not machines, and wrote some fairly impressive songs. Okay, if you've heard this album, I know your complaint: 'Let's Work'. This is often pointed out as one of the hugest missteps in Mick's entire career - a stupid dance beat over which Mick, in his best DirtyWork-tone, barks out lyrics about how his fans should get off their butts and 'let's work, kill poverty'. In my opinion, condemning Mick over this song is about the same as condemning him for Satanism based on 'Sympathy For The Devil'. Can't you seriously see this is tongue-in-cheek, almost a comedy number? There is totally no ugly aggression in his barking this time, and me, I simply have a good laugh while listening to this song. Not to mention that he really does an outstanding job - on no other album, Stones' or solo, does Mick bark as convincingly as on this one.

And then there are the 'real' rockers. Okay, songs like 'Say You Will', 'Peace For The Wicked' or 'Radio Control' might not be among his best. But they're all solid, okay-ish tunes with loads of energy, strong, memorable riffs, and plenty of amusing and tricky production gimmicks to keep your attention set in - I can't really see what's wrong with that, people. And 'Kow Tow' is really good - I love it when he roars out the lines 'I won't bow down, I won't kow tow'. Good lad.

And yeah, I forgot to tell you that this record features at least two blistering classics that should by all means earn their gold status in the Stones' legacy - a pity that fate placed them on a Jagger solo album. First, there's 'Throwaway', a song that was brilliantly chosen to open the album. Essentially, it's just Jagger's 'confession' about how he used to play the Casanova but, well, he's finally found a love to stay (apparently, that love - Jerry Hall - got divorced from him several month s ago, but what the heck, it's 1987 we're talking about). But there's just something moving in the song, particularly in its refrain ('a love like this/is much too hard/to ever throw away'), and the way it bounces along with all these tasty guitar lines thrown in is just enthralling. And next, there's 'Party Doll', a brilliant country stylization along the lines of 'Sweet Virginia' and 'Love In Vain' (something in between the two, actually); I mean, it's still worse because it's spoiled by the booming drums and everything, and it'll sure as hell be much too melodramatic for somebody else's tastes, but you can't deny the melody because it's right there, by gum! And the harmonica and fiddle parts are dazzling.

Perhaps the only time when Jagger really goes somewhat overboard (if you don't count 'Let's Work', of course) is the 'epic' 'War Baby', an overblown peace anthem that goes on for too long and I mean it - it's like seven minutes long, for Chrissake! And there's too much gunfire involved, blah. It's still better than Paul McCartney's 'C'mon People', though - maybe because it sounds more sincere. And in any case, it's fully compensated by the brilliant title track, with some of Mick's most interesting lyrics ever, about a child looking back on his parents' past and on the Fifties and Sixties in general. And for some reason, nobody even knows the song. What a pity, what a shame. It's rockin', tender and intelligent at the same time, and who has ever heard of it?

All in all, the album's definitely a blast, at least by Mick's own standards. It's easy to say banal things about how the album lacks a Keith Richards in control to strip it of its dated, ridiculously over-technophilic production (to be frank, though, this record isn't as technophilic as, say, some of the contemporary David Bowie albums, with whom Mick was quite close during the decade), and to bring in a straightforward, retro rocker. You want to have a Keith Richards, you go listen to Dirty Work. And at least the fact that the album is a solo effort saves us from the necessity of digesting yet another soggy Richards ballad...

Another aspect in the Mick/ Keith solo tracks cook-off, is the live stage. One has to only recall the live setting of the Wino gigs vs any Jagger solo show.
MJ - an embarrssment of Stones warhorses ; played exactly how they should NOt be played. Too fast, too loud, no open tunings, too many f/x, bombastic drums. Never once in a Jagger show was there any semblance of compound band-sound. It's topnotch studio employees doing their job for a fee on key.
The Winos was an adventure. I like what Doxa says about Keith flying the Open G flag one more time.

PS I wanted to add to the Jagger writing style debate: IMO "Under the Radar" is a prime example. A good song, almost great when compared to ABB. And it's fine, until that freakin bridge is wedged into the groove.



Edited 1 time(s). Last edit at 2012-03-29 01:01 by Palace Revolution 2000.

So, all in all we have 4 Jagger albums, 2 Keith and 10 (?) Wood ones. What about hits then.
Were there any memorable hits at all from those 16 albums? In the end isn't that what popular music is about?

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Gazza
nd words, made worse by that never to be forgotten video

Nothing however will ever prepare you for Mick's return to TOTP after a 16 year absence when he treated the kids of Britain to this. It was so embarrassing I watched it from behind the settee.

The sound on this clip has been removed. You can thank me for it anytime!

That Happened. And we all let it happen.

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ryanpow

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Gazza
nd words, made worse by that never to be forgotten video

Nothing however will ever prepare you for Mick's return to TOTP after a 16 year absence when he treated the kids of Britain to this. It was so embarrassing I watched it from behind the settee.

The sound on this clip has been removed. You can thank me for it anytime!

That Happened. And we all let it happen.

But didn't Mick after all got the message that we weren't so pleased by it...

- Doxa

Damn, I miss StonesTod's contribution here...

(and just to make him annoyed and, thereby, to wake up and react, let's end the post with a smiley: )

- Doxa

No end of the postings...
Here is Primitive/Cool Talk!

The follow-up to the WWIII-Never-Happened She'sTheBoss/DirtyWork "Rolling Stones" record

Criteria are:
Release as a single (b-sides included)
Played live
Video/tv
... yes, I added Ruthless People as it is from the same period

A:
Throwaway
Let’s Work
Radio Control
I Could Have Stood You Up
Whip It Up
Locked Away / Make No Mistake - your choice as ratings are the same

B:
How I Wish
Take It So Hard
Shoot Off Your Mouth
Ruthless People
Party Doll
It Means A Lot

A-sides
Ruthless People
Let’s Work
Additional B-side
Catch As Catch Can

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WeLoveToPlayTheBlues

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Doxa
I think we need to notice that PRIMITIVE COOL - with its leading single/video -, was more radical and more far from the Stones comfort zone than SHE'S THE BOSS.

Doxa - how in the hell do you get THAT? What on SHE'S THE BOSS sounds like the comfort zone of the Stones!!??

Well, Lonely at the Top, but I'll stop there because after that I think you're right Skippy.

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Erik_Snow
Those 2 songs, Kow Tow and Say You Will are amongs Jagger's best solo songs; but also....they are also the only 2 good songs Primitive Cool, I think

Well said - but among the worst album cover art of all time. Name 5 that are worse.

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MJG196

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Erik_Snow
Those 2 songs, Kow Tow and Say You Will are amongs Jagger's best solo songs; but also....they are also the only 2 good songs Primitive Cool, I think

Well said - but among the worst album cover art of all time. Name 5 that are worse.

Dirty Work would be one.

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MidnightLurker
The sound and vocals are god awful total crap. I'll take Talk is Cheap or Main Offendor any day of the week.

no, the sound and vocals of the winos are god awful crap zzzzzzzzzzzzzzzzzzz.

Mick responds well to question why he is doing a solo albums.

You’re the singer in what’s been called the greatest rock’n’roll band in world. Why make solo albums?

The quick answer is that I enjoy doing it. You get to a point in your life where you just want to do things you enjoy. I did a long stint on the road with The Rolling Stones. When I came off the Bridges To Babylon tour I thought, I just don’t feel like going into a studio with The Rolling Stones. Though The Rolling Stones is a great band – it’s part of me and I’m part of it – it’s sort of acquired a lot of baggage over the years, a lot of expectations and a lot of prejudices. So you feel as a writer and a singer that you want to break out of that format. Even though The Rolling Stones cover a wide spectrum of music, when you play with the same people you do tend to fall into a format, and it’s hard to cover all the bases you want. It’s a big committee: people expect a certain amount of rock tracks or whatever. And I wanted not to have so much of a committee. You think, I want to do this, like this, and I don’t really give a hoot what someone else thinks.

What was your general mood making it?

It covers a lot of emotions. There not one thing running through it. It reflects the year that I’ve just had, which is good, and there’s a lot of moods in there, from slightly introverted mysticism to comedy to love letters.

A common impression of you is that your moods range only from sardonically amused to mildly pissed off. You’re rarely seen outside of those parameters. But Goddess In The Doorway is an openly emotional record in places.

Yes, that’s right. It’s really a product of being more open-minded, and acknowledging that what you describe had been too much the case recently. Also, if you’re doing a solo album you’re asked to do more. You’re not reliant on anybody else for support, you’re not influenced, and you’re not shy of opening up. Whereas if you’re with a little gang, you’ve got your little codes and you don’t want to be too open. When you’re on your own you feel you can allow yourself that. “Self-indulgent” is the term often used in reviews of solo albums, and they can be. But you’re treading a fine line between being open and honest and stopping short of any maudlin sentiment.

[www.pauldunoyer.com]


What more to it? He can't be open, he can't be himself around Richards (I think is also true for KR)- in such an atmosphere it's a miracle that they have released several albums

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proudmary
Mick responds well to question why he is doing a solo albums.

You’re the singer in what’s been called the greatest rock’n’roll band in world. Why make solo albums?

The quick answer is that I enjoy doing it. You get to a point in your life where you just want to do things you enjoy. I did a long stint on the road with The Rolling Stones. When I came off the Bridges To Babylon tour I thought, I just don’t feel like going into a studio with The Rolling Stones. Though The Rolling Stones is a great band – it’s part of me and I’m part of it – it’s sort of acquired a lot of baggage over the years, a lot of expectations and a lot of prejudices. So you feel as a writer and a singer that you want to break out of that format. Even though The Rolling Stones cover a wide spectrum of music, when you play with the same people you do tend to fall into a format, and it’s hard to cover all the bases you want. It’s a big committee: people expect a certain amount of rock tracks or whatever. And I wanted not to have so much of a committee. You think, I want to do this, like this, and I don’t really give a hoot what someone else thinks.

What was your general mood making it?

It covers a lot of emotions. There not one thing running through it. It reflects the year that I’ve just had, which is good, and there’s a lot of moods in there, from slightly introverted mysticism to comedy to love letters.

A common impression of you is that your moods range only from sardonically amused to mildly pissed off. You’re rarely seen outside of those parameters. But Goddess In The Doorway is an openly emotional record in places.

Yes, that’s right. It’s really a product of being more open-minded, and acknowledging that what you describe had been too much the case recently. Also, if you’re doing a solo album you’re asked to do more. You’re not reliant on anybody else for support, you’re not influenced, and you’re not shy of opening up. Whereas if you’re with a little gang, you’ve got your little codes and you don’t want to be too open. When you’re on your own you feel you can allow yourself that. “Self-indulgent” is the term often used in reviews of solo albums, and they can be. But you’re treading a fine line between being open and honest and stopping short of any maudlin sentiment.

[www.pauldunoyer.com]


What more to it? He can't be open, he can't be himself around Richards (I think is also true for KR)- in such an atmosphere it's a miracle that they have released several albums

I for one am glad for the solo material, actually from both of the Glimmers. My problem is that I've found the material from both of them to be a little uneven, and even sometimes awful. I love both Talk is Cheap and Wandering Spirit though, in their entirety.

There are some good tracks scattered amongst the other albums, but Main Offender is just plain boring most of the time, and the production for example on Primitive Cool is horrible along with some awful songs.

With all that said, still glad we have the option.

The thing is that there was no demand for a Mick Jagger solo album in the first place. The whole world, except one or two label executives, wanted the band to stay together.
So if the price was to break up the band the solo album had to be really good, or at least something really different. Which it wasn't...

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Stoneage
The thing is that there was no demand for a Mick Jagger solo album in the first place. The whole world, except one or two label executives, wanted the band to stay together.
So if the price was to break up the band the solo album had to be really good, or at least something really different. Which it wasn't...

Hmmm... I guess everybody is his own man, and Mick Jagger has every right to follow his own muse whenever he wants to, especially after having been with the Stones for more than 20 years before the first solo album came out.

I mean, Keith Richards in turn has every right to criticize Mick's preferring to record his second solo album to touring with the Stones. But this is only from the Stones' point of view. We, as fans, on the other hand, shouldn't make rules proposing when a solo album is justified or not, or if it is "really good enough" to get our approval.

To me Jagger's quotes concerning his motives are quite plausible and sympatico. They also underline his pragmatic, unsentimental approach. It's only that these laudable features seem to undermine the content of his solo albums (and recent compositions) quite a bit. They lack a little depth in most cases, and many sound like mere peppy exercises.



Edited 2 time(s). Last edit at 2012-03-30 16:29 by Greenblues.