Yes, they're classic lyrics. They say it like it is in rock/gutter lingo. Totally apt in rock/pop context.

IF you want more advanced philosophical treatments....read some books, I suppose.

"Cross-fire hurricane" is hardly correct technical meteorological terminology, is it?!

Hairbrush,

I'll get pack to you later on your wise observations.
I feel like detritus right now.



Edited 2 time(s). Last edit at 2005-04-17 21:57 by Deidre.

Hairbrush,

I like Too Much Blood and Undercover generally. TMB is more of a Bass and Brass track. Guitars are effective but rather incidental. Such good bass sound.

And you'll be appalled to hear that I thought SW was excellent. Hold Onto Your Hat I found rather 'obvious' - but played at such full tilt, with Keith on fire - mustn't grumble. VL was an attempt to re-create 'classic' stones style/content. So transparent, I thought. Hence my generally adverse reaction. I must be one of the few perople who thinks that they progressed and matured through DW and SW. Then on VL they try and take the safe and well-tried option.

B2B then adopted a generally more adventurous approach..

BTW, Bill's bass on OnE HiT is just a classic example of his understated, almost self-effacing style. Remarkably imprecise. I think any one would have a hard job recreating it.

Yours Detritally.



Edited 1 time(s). Last edit at 2005-04-17 22:25 by Deidre.

Debris,

Have we forgotten the gem SAINT OF ME from Bridges To Babylon ? I hope not. This was the best example of the Stones being the Stones from this period, regardless of whether or not Keith had any involvement in the studio version of the song. I even like all the weird single remixes of the song with the throbbing techno beat. While the lyrics are a shallow attempt by Mick to recapture the glory of Sympathy For The Devil, we have to at least give Mick some credit for digging out his history books and researching the tough subject matter to influence and inspire him for the writing of this piece. Rumor and heresay has it that Keith wasn't involved in the studio recording, but when it came time to play it live...Keith owned the song. I saw it performed at Vredenburg on the Licks tour, and the sing-along chorus had the crowd nearly in tears with love and enthusiasm. Unforgettable.

Unfortunately, the remainder of that album is completely forgettable.

Hairspray,

You are one lucky Stones' fan. They did far too few from Bridges on the Licks tour. Great song live.

I was actually at Vredenberg that afternoon. There was still a queue in the afternoon, although two lots of tiockets had already been released. No-one thought any more would be made available, so I left. They were wrong!

Was at Ahoy. Good atmosphere and show - but K @ R out to lunch until the B-stage. (Sound was bad too).

I like all of B2B, you will be devastated to learn.

'Debris' is a compliment - an honourable Faces song.

So Deidre knows tha Faces too, wow.

I ain't stupid, I'm just guitarded.

Deidre fighting against the wind mills, not for for the very first time...?

Anyway, I think Deidre is not alone. Quite contrary, he is in a good company: I think Mick Jagger said pretty much the same by claiming that Voodoo Lounge was "too retro" - and I think he already gave the verdict quite soon after the release of the album. Deidre's description of "Love Is Strong" pretty much sums up the dangers of this "make it safe" attitude.

But the problem with the claimed progression and maturation between VL and BTB is that the latter is not the effort of band spirit but more like two seperated solo albums packed together. Sometimes (at least in the 'old days') the tension between Mick and Keith seems to produce marvellous musical results but in BTB it seemed to ruin all of their co-work, and they ended up creating their own seperated blocks. And what goes for the musical originality I think it is most in the shoulders of Mick. And I think not with best results (expect gems like "Saint Of Me" or "Out Of Control" that I think are about the best things they have done in the 90's). Keith with all his eccentric balladery has made a desert of his own in the Stones repertuare.

Maybe that seems to be the problem with The Glimmer Twins: only way they can do real team work is to make it safe and go retro. That's only place they seem to find co-operative, familiar ground. And amounts to say that too many easy comprimises needs to be done, that of course affects to their inspiration. Well, that is the way it looked at least in the 90's. But there have been so many gossips and rumours of how 'tight' their team work has been nowadays, at Mick's castle somewhere there in France, that maybe they might have a big surprise in their hands for us now...

- Doxa



Edited 1 time(s). Last edit at 2005-04-18 16:12 by Doxa.

Doxa,

Windmills are great. I defend them to the hilt, trusty lance in hand. They are a dying breed.

I'm actually just jousting with infidels. Someone has to Keep The Faith!

As that wise man said,

" If you run with the Crowd.......you'll end up in the Mad-House, shouting those Cold Walls Down".

This Dame is not for Holding Back.


Rank Stench,

Deidre was rocking her Dirty Sox off in her dippy, dainty, early teen-years to the Faces. Glued to the radio every morning for the chance of catching Stay With Me or Pool Hall Richard et al., while the other good girls were busy applying their mascara.

And if only Mick Taylor had stayed with the Stones....perhaps the Faces would still be around, (with Bill on bass).



Edited 2 time(s). Last edit at 2005-04-18 19:45 by Deidre.

GREAT song in concert. Let it go!

I've heard the band do it live. It (like Mixed Emotions and Satisfaction) isn't as strong live. And I really like this song. BTZ is Back To Zero - it's on Dirty Work. It truly sucks.



Edited 1 time(s). Last edit at 2005-04-18 21:21 by Elmo Lewis.