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Mathijs
She's the Boss is the Jagger solo album with some hidden gems, and with some excellent vocals by Mick -all burried deep down in this 80's synth pop overproduced sound. Wandering Spirit just is a fantastic album -really the best Stones album since Tattoo You. All other Jagger solo outtings are simply horrendous. Bad song writing, the singing is barking and shouting, the guitar playing dreadfull, the drumming over the top, the production is awfull. There's no way around it.

Talk is Cheap is a mixed affair to me -Make No Mistake and You Don't Move Me are in the top ten of best songs ever written by Richards, Big Enough, Struggle, How I Wish and Whip it Up would be gems on any Stones album, but the rest indeed is a bit too loose, too much demo like to me.

Mathijs

I agree, but I think Locked Away and Take It So Hard deserve a honorable mention here.

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Mathijs
She's the Boss is the Jagger solo album with some hidden gems, and with some excellent vocals by Mick -all burried deep down in this 80's synth pop overproduced sound. Wandering Spirit just is a fantastic album -really the best Stones album since Tattoo You. All other Jagger solo outtings are simply horrendous. Bad song writing, the singing is barking and shouting, the guitar playing dreadfull, the drumming over the top, the production is awfull. There's no way around it.
Mathijs

Hmm... this is an interesting observation. I tend to think that "barking and shouting" is a special feature of the phase covering UNDERCOVER, SHE'S THE OSS and DIRTY WORK (including "State of Shock", "Dancing in the Street", "Ruthless People") of which Jagger found his way out in PRIMITIVE COOL. I think that in that album Jagger started paying more attention to the nuances of his voice and understood that the power is not the only quality. In that album Jagger created the voice he is very much used ever since (including the increasing use of nasal, for sure). But any way I find his vocals from UNDERCOVER to DIRTY WORK quite poor in the richness of interpretation - he sounds somehow out of focus or point in his delivery. Just mostly mindless use of loudness, which is some cases sound like he has not so much power in his voice as he wishes for (for example, "Lonely at The Top"). In PRIMITIVE COOL he sounded like he is once again in the control of his voice, and sounds like he knows how to use his fine instrument, the skill he somehow lost few years after masterpiece-like vocals of TATTOO YOU.

- Doxa



Edited 2 time(s). Last edit at 2012-03-27 12:18 by Doxa.

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Doxa

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Mathijs
She's the Boss is the Jagger solo album with some hidden gems, and with some excellent vocals by Mick -all burried deep down in this 80's synth pop overproduced sound. Wandering Spirit just is a fantastic album -really the best Stones album since Tattoo You. All other Jagger solo outtings are simply horrendous. Bad song writing, the singing is barking and shouting, the guitar playing dreadfull, the drumming over the top, the production is awfull. There's no way around it.
Mathijs

Hmm... this is an interesting observation. I tend to think that "barking and shouting" is a special feature of the phase covering UNDERCOVER, SHE'S THE OSS and DIRTY WORK (including "State of Shock", "Dancing in the Street", "Ruthless People") of which Jagger found his way out in PRIMITIVE COOL. I think that in that album Jagger started paying more attention to the nuances of his voice and understood that the power is not the only quality. In that album Jagger created the voice he is very much used ever since (including the increasing use of nasal, for sure). But any way I find his vocals from UNDERCOVER to DIRTY WORK quite poor in the richness of interpretation - he sounds somehow out of focus or point in his delivery. Just mostly mindless use of loudness, which is some cases sound like he has not so much power in his voice as he wishes for (for example, "Lonely at The Top"). In PRIMITIVE COOL he sounded like he is once again in the control of his voice, and sounds like he knows how to use his fine instrument, the skill he somehow lost few years after masterpiece-like vocals of TATTOO YOU.

- Doxa

Good point, Doxa! The mannered singing started on Primitive Cool (Say You Will).

For me, the vocals on the Undercover-album may be Mick's best ever.

On She's The Boss + Dirty Work, Mick is trying to obtain the same punch by hollering, barking and shouting. The result is sometimes cringeworthy, imo, but also good at times (Lonely At The Top, Harlem Shuffle, Dirty Work).

We get a hint of mannerism in Hard Woman as well, but Mick's almost joking it away by the borderline parody vocals, which works quite well, imo.

From 1982-3 to 1989 I lost interest in Stones. I heard Still Life quite a lot but grew increasingly annoyed with it - and didn't buy Undercover, Dirty Work, She's the Boss or Primitive Cool the day they were in the stores. And I wasn't fascinated with the glimpses, the singles I heard at parties, on the radio, the videos etc.
I was poor and had to limit my self to the most necsessary. Which Talk is cheap appearently was. It won much critical acclaim at the time. But though I liked it (and the coollooking cover), I never listened much to it. It quickly showed to be pale. And increasingly so. Steel Wheels and the tour got me back on the Stones track - Sad, sad, sad and Jumpin jack flash was some of the first songs my then two years old son learned. And by Wandering Spirit I was cured from my rock-journalist/critic induced claim that Keith was the true center of what is the artistic and musical qualities of The Rolling Stones. WS was not with out flaws, but it sure was by far the best Stones record since Tattoo You. I then caught up with She's the Boss and Primitive Cool - and thought they were not easy to love for a long time stones fan (1974-1982, 1989- ), but actually interesting and daring moves. I listened to STB and PC occasionally through the following years and though I can't say that I have grown to love them wholeheartedly, but I really respect Jaggers guts. He took a huge risk with these albums on AOR territory. And in that context I think Let's work is to be seen. I for sure understand the reservations to the promovideo and to the lyrics (in the age of Thatherregime). But at the same time I actually find it courageous. The pragmatical positivity of the disturbingly catchy popsong is as far from cool stones noir as one can be. As is the other highlights of PC. Gilmores comparison to Fool to Cry and Memory Motel is spot on.

In this respect Goddess In The Doorway is interesting too. Goddess is rather far from stones territory too. It is polished and slick, yes. But I think the first seven tracks succeed. They are refreshingly strong. Which for sure not was the case with the cover art.



Edited 1 time(s). Last edit at 2012-03-27 13:15 by GetYerAngie.

I spent the last couple of days listening to Jagger and Keith solo.

Cheap and Offender are true masterpieces. I mean it. Perfect (almost - still don't like Eileen) from start to finish. You hear the open G guitar, you hear Keith, but they are COMPLETELY different from a Stones record. The attention to the details is incredible. Not only the mix of guitars and amps and acoustics (Keith of course rules), but also the vocal harmonizations are stunning, the richness of grooves, the sophisticate little arrangements. The reason for this is very simple: the Winos are a great band and Keith - like it or not - is a genius.

Jagger.

His records sound as if they were recorded in minutes. I wonder how much time the band had to prepare the songs. Did they prepare them?

Let's be honest, from Jeff Becks point of view, would you rate Boss a milestone in his carreer? No way!

Alfie is no masterpiece, but at least you hear some form of cooperation there.

I hear some genuine effort of doing something worthy, in particular on the ballads. Woman is great. Also the two slow ones on Primitive.

I hear Jagger having fun trying new stuff. Actually a bunch of good songs.

I love Jagger, I don't want to over criticize him for his solo work. He doesn't deserve it. I think he is the first not to give his solo output much importance.

Actually, if you take for what it is, there are a bunch of enjoyable songs even on Goddes.

But there is no way that I can rate any of his works even close to what Keith released.

No way.

C

Bought the cassette in London on vacation in 1987. I love this recording. Call me crazy, but I think it Mick's best solo effort.

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Stoneage

You sometimes ask yourself: Why does he bother to do interviews at all when he almost never answers the questions?

There is an interview and an interview. In fact, a lot depends on the journalist - one has to know how to do it. And it helps when the interviewer is a woman...
I like this one - not from PC era but WS

By KAREN SCHOEMER
Published: February 21, 1993

"He proceeds to define the decades by drug usage. "In the 60's it was a minority," he remembers. "It was still, like, artists only. In the 70's, it was, like, everyone . The secretary at the fashion company went to Studio 54. Quaaludes and all that. Women loved Quaaludes. For men -- you couldn't perform on Quaaludes, so to speak, and I don't mean the tours."

He laughs his face-scrunching laugh.

The very mention of the 80's seems a bit sobering. "I must have had some good times," he says slowly. Then he adds, more assuredly, "I had a lot of good times." Then: "Had some pretty crummy times, too." Hearty laugh. "It was very greedy, wasn't it? And everyone seemed to have a reaction against taking Quaaludes at Studio 54. Suddenly they wanted to be bankers and traders."

[www.nytimes.com]

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Glam Descendant
>Everyone can have a bad day.

I guess you mean the critics.

There are photos that include the artwork used for "One Hit" in an "Architectural Digest" spread on Mick & Jerry's NYC apt. from the 80s so maybe Mick decided to use artwork he already owned for commercial purposes after the fact (I suspect the UC apple painting may be another example of this methodology). The PC cover on the other hand must have been commissioned specifically for the cover; perhaps Jagger even had input on what he wanted. Clemente did the inner sleeve as well (the workers making the record).

The Yoda comment is ... telling; I always thought it was supposed to represent Pan. (Not Peter.)

Actually I meant the artist...just to clarify. And it is ok to say Mick looks like Yoda on that album cover, because he looks like Yoda on that album cover.

On a separate, I've been singing Party Doll for the last couple of days because of this thread. That IS a good song, thank you Doxa for bringing this up!

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Doxa
Technically, this is one of Mick Jagger's most demanding singing performances ever. He needs to really sing properly in a wide range, and he nails it perfectly. Here one can also hear all the familiar voice tricks and nuances that are way too common ever since. But here they are brandnew:





- Doxa

Sorry Doxa but after all those years I still don't like it;too pop music for me. I find what you have to say about PC very interesting (for lack of a better word) but I prefer Jagger's voice before the change; I still miss Jagger's intonation and tone from the 70's. It's remarkable that Jagger likes to change the way he sings but sometimes when you have something good, why changing it?
Rock and Roll,
Mops

>Actually I meant the artist...just to clarify.

Actually I was being facetious...just to clarify.

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Glam Descendant
>Actually I meant the artist...just to clarify.

Actually I was being facetious...just to clarify.

sarcasm is SO much easier face to face!

>sarcasm is SO much easier face to face!

*Sure* it is.

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Glam Descendant
>sarcasm is SO much easier face to face!

*Sure* it is.

Damn! See what I mean, I can't tell if you're being sarcastic or not right now?!

Now get that tongue out of the side of your cheek!

Not many people mention it, so I guess I'm in the minority, but doesn't a single Keith Richards song like "It Means A lot," blow the entire Mick Jagger solo catalogue out the water? There is more sincerity, sponteniety, emotion, class and sense of tasts and feel in the first few verses of that song than the entire Jagger catalogue put together imho.

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Slimharpo
Not many people mention it, so I guess I'm in the minority, but doesn't a single Keith Richards song like "It Means A lot," blow the entire Mick Jagger solo catalogue out the water? There is more sincerity, sponteniety, emotion, class and sense of tasts and feel in the first few verses of that song than the entire Jagger catalogue put together imho.

I appreciate your opinion, but I just have to wholly, heartily disagree with it. If you're going to even try to make that comparison, at least pick a good Keith Richard's song otherwise we just can take you seriously.

Actually think the song has a lot of meaning to it. Probably an Anita things. It speaks to lies and betrayals or suspician in relationships. Those observations "tell by a movement, a flick of the hand, you know here you stand." Those are the major issues that rock many people's lives, there's the darkness and real sense of personal connection I'm hearing. But I guess I'm just wrong. Well I tried!

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Slimharpo
Actually think the song has a lot of meaning to it. Probably an Anita things. It speaks to lies and betrayals or suspician in relationships. Those observations "tell by a movement, a flick of the hand, you know here you stand." Those are the major issues that rock many people's lives, there's the darkness and real sense of personal connection I'm hearing. But I guess I'm just wrong. Well I tried!

I'm not saying your wrong...it's only my opinion but I don't that that song is Keith's best solo song. Haven't listened to the lyrics too closely so I definitely cannot speak with any authority on that!

Well note the last lines "little lie, don't excited before the facts." To me it a guy or girl trying the sort the honesty behind the emotions, the touch "hug" "flick of the hand" "the way she dances." There's something between distrust and paranoia. Those last lines really situate the context of what preceeded. Don't you think? Pretty intense overall!



Edited 1 time(s). Last edit at 2012-03-28 06:27 by Slimharpo.

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

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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!!??

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Mathijs
I think it is one of the worst albums released in the 80's, by any band.

Mathijs

But...it's not the Mick Jagger Band!

Throwaway ***1/2 - cool tune for the most part. Very up. The drums are so 1980s but aside from that it's alright.

Let's Work - as bad and some days worse than Streets Of Love, Sweet Neo Con, Rock And A Hard Place, Winning Ugly. Embarrassing beyond anything.

Radio Control *1/2 - this song would be better if it wasn't for Jeff Beck and the horrible arrangement of the 'rock' sections.

Say You Will *** - nice ballad but a bit placid because of the production

Primitive Cool 1/2 - almost as bad as Winning Ugly etc...

Kow Tow ***** - Best song on the album.

Shoot Off Your Mouth **

Peace For The Wicked **** - The other best song on the album.

Party Doll ** - a bit mushy. It sounds promising when it starts but it gets too...something. It's too affected.

War Baby * - awful.

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WeLoveToPlayTheBlues
Throwaway ***1/2 - cool tune for the most part. Very up. The drums are so 1980s but aside from that it's alright.

Let's Work - as bad and some days worse than Streets Of Love, Sweet Neo Con, Rock And A Hard Place, Winning Ugly. Embarrassing beyond anything.

Radio Control *1/2 - this song would be better if it wasn't for Jeff Beck and the horrible arrangement of the 'rock' sections.

Say You Will *** - nice ballad but a bit placid because of the production

Primitive Cool 1/2 - almost as bad as Winning Ugly etc...

Kow Tow ***** - Best song on the album.

Shoot Off Your Mouth **

Peace For The Wicked **** - The other best song on the album.

Party Doll ** - a bit mushy. It sounds promising when it starts but it gets too...something. It's too affected.

War Baby * - awful.

I agree with those ratings, apart from that I think Throwaway and Peace for The Wicked are to strainging to "enjoy" even though certain riffs here and there are OK.

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

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Doxa

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liddas
Occasionally good (not great) songwriting is not enough to save Jagger's solo albums. His albums are by far the worst if compared to what Keith, Ronnie, even Charlie and Taylor did (Bill, I do not know because I never bought one of his).

I think the difference of Jagger as a songwriter to the others mentioned is that he can make finished songs. With his lyrics and clear melody structures he glues the songs into compact units wheras especially Keith's solo stuff is from an song-writer point of view a bit half-baked/half-thought, just throwing some key phares and leading vocals to base of riffage and chord sequences (but sometimes that, of course, makes a wonderful listening experience, by capturing the feeling). Taylor and Wood do not qualify here - neither is actually any song-writer even though they can come up with some nice riffs, chord sequences and song sketches (even though with the case of Woodie any kind of originality is not his forte). As songwriters they belong clearly to another division than the the Twins. And Wyman belongs to the next one below.

- Doxa

I disagree strongly. This 'finished' song' syndrome is what hurts Jagger in the long run. Sure there will be times when those songs will flow with ease, but it's almost a crap-shoot. So often his songs feel labored.
I can see why some people see Keith's work as leaning to far towards the other extreme.
I guess this is why the best Stones work comes from both of them together" the combination of the two.
Seems the quality (IMO) of Jagger's solo albums goes hand in hand with his approach. With WS and a bit less with GITD he went for an overall ambience, feel and band first. THEN added new music.
With the other two albums musicians were non-issue. Might as well have been robots.
Keith went the organic way and started from ground up, with people. Living and socializing together. Getting to know and like each other. This will result in music and harmony. Keith is not selling the structure of music; he is selling the message of music.

And I can not agree that Ron Wood's solo work is in a lower class from Keith and Mick. Matter of fact his solo work is outstanding; all 10 albums.

It's true, Keith goes for the feel where Mick goes for the finished song.
And, yes, many of Keith's solo tracks feel damn good. But the more half baked songs he put out, the more "cliché" they became, "...can't be seen with you..." (take a shot of Wodka Lemnon) "...like a thief in the niiiiiihgt..." (light another cigarette), not too bad, but hardly adventurous, exciting or revelatory either. Just playing it safe by the fireside.

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Palace Revolution 2000
I disagree strongly. This 'finished' song' syndrome is what hurts Jagger in the long run. Sure there will be times when those songs will flow with ease, but it's almost a crap-shoot. So often his songs feel labored.
I can see why some people see Keith's work as leaning to far towards the other extreme.
I guess this is why the best Stones work comes from both of them together" the combination of the two.
Seems the quality (IMO) of Jagger's solo albums goes hand in hand with his approach. With WS and a bit less with GITD he went for an overall ambience, feel and band first. THEN added new music.
With the other two albums musicians were non-issue. Might as well have been robots.
Keith went the organic way and started from ground up, with people. Living and socializing together. Getting to know and like each other. This will result in music and harmony. Keith is not selling the structure of music; he is selling the message of music.

And I can not agree that Ron Wood's solo work is in a lower class from Keith and Mick. Matter of fact his solo work is outstanding; all 10 albums.

Good points (expect the Ronnie one...).

I recognize the problem you describe as "fineshed song syndroma". Jagger songs sometimes tend to sound too much crafted-like, not really as true impressions of creativity or inspiration but like solved puzzles. And he has certain techniques or methods how he finishes the ons - what kind of melody lines or strucrures he uses. This is especially true if one listens his ouput from STEEL WHEELS on. And for example, Jagger's contribution in SuperHeavy is way too familiar, almost cliche-like in musical choices to someone who knows his past.

But also in this sense PRIMITIVE COOL is a key album. I think in there most of his ideas are rather fresh and novel ones. The problem is that ever since he has not much added to his musical repertuare - including his singing techniques and sound - but just circled the ones he found in PRIMITIVE COOL. But that's not PRIMITIVE COOL's fault.

I also agree that in ideal world - which used to be reality - Mick and Keith perfectly click together. Keith gives the feel for the song - the musical landscape - and Jagger finishes it by adding the disciplined lyrics and melody lines. I think a perfect example is "Soul Survivor": one can listen the EXILE bonus extra track with Keith's guide vocal and then the finished version. I guess "Plundered My Soul" is another recent example where Mick takes Keith's "demo" and then creates a song over it. TATTOO YOU is full of that. I think most of Keith's solo tracks actually sound like EXILE bonus "Soul Survivor". And I also agree with you that Jagger is not probbably so good at starting from the scratch. He probably has no nerves or desire to create certain musical atmospheres, to find the right 'feel' or 'groove'. He I guess sees recording a song more pragmatical matter. Just the isue of craft and using competent studio musicians.

As far s Keith is concerned, to me ears Keith bas long ago 'forgotten' the discipline with which to write songs (or 'complete' them). He seemingly is not interested in that anymore. Jus capturing the right atmssophere is seemingly enough for him. But sometimes that is not enough for me; I think an album like MAIN OFFENDER simply gets boring. I don't have good enough ears to hear the nuances between the grooves of the tracks. To my ears that simply is a half-baked album. Lots of great ideas but not the actual realization of them.

But I think the salad days are over when Mick and Keith actually could help each other, or adding the 'missing piece' for each other's songs. I think they lost that in the early 80's, and it has never come back. When they - very rarely - work together they - intentionally or unconsciusly - just make compromises and make it as 'easy' and wasting as little energy as possible. Jagger is not eager or motivated to really work his butt off in creating songs, and Keith is not motivated to actually write great musical atmopsheres (and thereby inspiring Mick). Besides their working methods have radically changed since the salad days. Keith can record the Winos in one room, and keep the band going on and on drugs until the right feel or take is to be found. But he can't apply that working method with the Stones. I guess Jagger - maybe Charlie too - just don't accept that any longer.

So I think for that reason the 'best' Jagger and Richards is to be found in their solo works. There they show what they really are good for and at, hearts full, and not making compromises. For that reason I simply find their solo albums offering much more interesting, inspired and better music than the Stones since UNDERCOVER - the only expetions being perhaps the 'solo' cuts in BRIDGES TO BABYLON and some other occasional moments of glory and inspiration (for example, "Continental Drift").

- Doxa



Edited 3 time(s). Last edit at 2012-03-28 13:30 by Doxa.

Primitive Cool has some great tracks but has just a little too much filler to make it substantial.

'Throwaway' is a wonderful opener, and 'Say You Will' and 'Party Doll' are brilliant ballads and my top-3 picks from the album.

The god-awful cover still makes me cringe today; Mick as half goat, dog or whatever he wishes to be, it's truly horrendous to look at; a barking mad (no pun intended) choice for album cover.

I actually feel 'She's the Boss' is the one I like most from his 80's output, I even have a soft spot for the 'Running out of Luck' movie that accompanied it. As a witty piece of promo fluff it is dang enjoyable and if you like the tracks from the album it's even more so.

'Wandering Spirit' I loved in 1993, still most most of it today.

'Goddess' has an unfair rep methinks, it has some damn good stuff on there, some lighter moments drag the overall down but it has more than it's share if highlights to be considered a very good Jagger album.

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Erik_Snow

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WeLoveToPlayTheBlues
Throwaway ***1/2 - cool tune for the most part. Very up. The drums are so 1980s but aside from that it's alright.

Let's Work - as bad and some days worse than Streets Of Love, Sweet Neo Con, Rock And A Hard Place, Winning Ugly. Embarrassing beyond anything.

Radio Control *1/2 - this song would be better if it wasn't for Jeff Beck and the horrible arrangement of the 'rock' sections.

Say You Will *** - nice ballad but a bit placid because of the production

Primitive Cool 1/2 - almost as bad as Winning Ugly etc...

Kow Tow ***** - Best song on the album.

Shoot Off Your Mouth **

Peace For The Wicked **** - The other best song on the album.

Party Doll ** - a bit mushy. It sounds promising when it starts but it gets too...something. It's too affected.

War Baby * - awful.

I agree with those ratings, apart from that I think Throwaway and Peace for The Wicked are to strainging to "enjoy" even though certain riffs here and there are OK.

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

I also over-all agree with those ratings. I add some observations.

I think "Throaway", Say You Will", "Kow Tow" and "Party Doll" are simply miles better songs than anything Jagger has done with the Stones since then, expect "Saint of Me" and "Out of Control" (and the bonus EXILE/SOME GIRLS tracks but those don't count). It is almost drasting the difference to STEEL WHEELS and VOODOO LOUNGE in focus and inpiration. I take those songs - plus many from WANDERING SPIRIT - as a proof with which I could sue Jagger for not taking the Stones seriously.

The problem with PRIMITIVE COOL - with its slicky procuction and sound - is that the songs where Jagger tries most hard and is most ambitious don't come out very good. "War Baby" and "Primitive cool" are simply rather weak tracks. A bit like "Sing This All Together". The songs I think terribly miss the target, and I almost feel sorry for Jagger; I wished he could have done better...

"Radio Control", "Shoot Off Your Mouth" and "Peace For Wicked" are Stones-like numbers Jagger is able to craft half-sleep (and seemingly better than many 'by-numbers' Stones albums are full of ever since). Album fillers sure but that kind of songs any album needs.

What goes for hated "Let's Work", well, probably we have entered to an age that we can treat it merely as a missed joke. Perhaps is not that bad or odd after all. Jagger wants to have dance hits; in a way it sits perfectly in the line of "Miss You", "Emotional Rescue", "Dance", or "Undercover of The Night". I like Skippy's comparison to Stones tracks - as a failure that's not something so unhearable, taking especially we have heard ever since. And at least Jagger failing there is based on full effort. Maybe the lyrics have the same kind of ill fate than the lyrics of "Born In The USA".

- Doxa



Edited 4 time(s). Last edit at 2012-03-28 14:17 by Doxa.

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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.

><><><

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liddas
I spent the last couple of days listening to Jagger and Keith solo.

Cheap and Offender are true masterpieces. I mean it. Perfect (almost - still don't like Eileen) from start to finish. You hear the open G guitar, you hear Keith, but they are COMPLETELY different from a Stones record. The attention to the details is incredible. Not only the mix of guitars and amps and acoustics (Keith of course rules), but also the vocal harmonizations are stunning, the richness of grooves, the sophisticate little arrangements. The reason for this is very simple: the Winos are a great band and Keith - like it or not - is a genius.

Jagger.

His records sound as if they were recorded in minutes. I wonder how much time the band had to prepare the songs. Did they prepare them?

Let's be honest, from Jeff Becks point of view, would you rate Boss a milestone in his carreer? No way!

Alfie is no masterpiece, but at least you hear some form of cooperation there.

I hear some genuine effort of doing something worthy, in particular on the ballads. Woman is great. Also the two slow ones on Primitive.

I hear Jagger having fun trying new stuff. Actually a bunch of good songs.

I love Jagger, I don't want to over criticize him for his solo work. He doesn't deserve it. I think he is the first not to give his solo output much importance.

Actually, if you take for what it is, there are a bunch of enjoyable songs even on Goddes.

But there is no way that I can rate any of his works even close to what Keith released.

No way.

C

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.