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24FPS

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ZuluFunMix
I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

Rock never sought to fuse with jazz? WTF? Charlie and Darryl snickering together? Are you in some sort of altered state right now?

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treaclefingers

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24FPS

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ZuluFunMix
I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

Rock never sought to fuse with jazz? WTF? Charlie and Darryl snickering together? Are you in some sort of altered state right now?

Did I stutter? What's your point? Feel free to poke holes in what I said, but you really have to say something in order for that to happen. And I did say MAYBE him and Charlie, etc, as poetic license.

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treaclefingers

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ZuluFunMix
I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

Rock never sought to fuse with jazz? WTF? Charlie and Darryl snickering together? Are you in some sort of altered state right now?

Did I stutter? What's your point? Feel free to poke holes in what I said, but you really have to say something in order for that to happen. And I did say MAYBE him and Charlie, etc, as poetic license.

When you 'come out of it' let me know and maybe we can have a conversation.

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treaclefingers

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treaclefingers

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ZuluFunMix
I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

Rock never sought to fuse with jazz? WTF? Charlie and Darryl snickering together? Are you in some sort of altered state right now?

Did I stutter? What's your point? Feel free to poke holes in what I said, but you really have to say something in order for that to happen. And I did say MAYBE him and Charlie, etc, as poetic license.

When you 'come out of it' let me know and maybe we can have a conversation.

To whoever said Darryl ain't rockin. Check the Dead Daisies out. Their Bass player is pretty tasty...

Double D

\m/

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24FPS

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ZuluFunMix
I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

What a silly caricature and over-simplification / distortion of the points I was trying to make. Did you take the time to go listen to the approach he takes to "Live With Me" on "No Security" before proclaiming that he's incapable of playing rock and roll or unwilling to do so?

Here is Bob Dylan's view of the situation. Taken from an interview by Bill Flanagan (BF) from April 13, 2009:

BF: What do you think of the Stones?
BD: What do I think of them? They’re pretty much finished, aren’t they?
BF: They had a gigantic tour last year. You call that finished?
BD: Oh yeah, you mean Steel Wheels. I’m not saying they don’t keep going, but they need Bill. Without him they’re a funk band. They’ll be the real Rolling Stones when they get Bill back.

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Stoneage
Here is Bob Dylan's view of the situation. Taken from an interview by Bill Flanagan (BF) from April 13, 2009:

BF: What do you think of the Stones?
BD: What do I think of them? They’re pretty much finished, aren’t they?
BF: They had a gigantic tour last year. You call that finished?
BD: Oh yeah, you mean Steel Wheels. I’m not saying they don’t keep going, but they need Bill. Without him they’re a funk band. They’ll be the real Rolling Stones when they get Bill back.

Yes, that's Bob Dylan's view, getting 1989 confused with 2009.

.



Edited 2 time(s). Last edit at 2013-12-09 06:04 by Max'sKansasCity.

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treaclefingers

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ZuluFunMix
I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

Rock never sought to fuse with jazz? WTF? Charlie and Darryl snickering together? Are you in some sort of altered state right now?

Did I stutter? What's your point? Feel free to poke holes in what I said, but you really have to say something in order for that to happen. And I did say MAYBE him and Charlie, etc, as poetic license.

When you 'come out of it' let me know and maybe we can have a conversation.

What do you mean 'come out of it'? You keep leaving a cryptic sentence with no depth to it. I stand by what I said. You haven't said anything.

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ZuluFunMix

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ZuluFunMix
I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

What a silly caricature and over-simplification / distortion of the points I was trying to make. Did you take the time to go listen to the approach he takes to "Live With Me" on "No Security" before proclaiming that he's incapable of playing rock and roll or unwilling to do so?

I know exactly what Darryl has done with the Stones. It started out okay on Voodoo Lounge and then rapidly petered out. Try to remember the bass line from Doom and Gloom. He's irrelevant. So, maybe he's capable of playing rock and roll. Do it already. Make a freakin' difference.

Look, if this version of the Stones is acceptable in your world, enjoy yourself. I like my Stones music with some balls to it. Like it used to have When the little man with the big sound ruled the bottom of the melody.

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Stoneage
Here is Bob Dylan's view of the situation. Taken from an interview by Bill Flanagan (BF) from April 13, 2009:

BF: What do you think of the Stones?
BD: What do I think of them? They’re pretty much finished, aren’t they?
BF: They had a gigantic tour last year. You call that finished?
BD: Oh yeah, you mean Steel Wheels. I’m not saying they don’t keep going, but they need Bill. Without him they’re a funk band. They’ll be the real Rolling Stones when they get Bill back.

Yeah, I guess Bob and I are Stones haters. Not bad company.

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I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

What a silly caricature and over-simplification / distortion of the points I was trying to make. Did you take the time to go listen to the approach he takes to "Live With Me" on "No Security" before proclaiming that he's incapable of playing rock and roll or unwilling to do so?

I know exactly what Darryl has done with the Stones. It started out okay on Voodoo Lounge and then rapidly petered out. Try to remember the bass line from Doom and Gloom. He's irrelevant. So, maybe he's capable of playing rock and roll. Do it already. Make a freakin' difference.

Look, if this version of the Stones is acceptable in your world, enjoy yourself. I like my Stones music with some balls to it. Like it used to have When the little man with the big sound ruled the bottom of the melody.

On how many studio tracks has Darryl actually played bass during the past 20 years? On B2B, I count 8 bassists listed in the credits besides Darryl, and then here's the line-up for ABB:


Mick Jagger – lead and backing vocals, guitars, harmonica, keyboards, bass guitar on "Back of My Hand", "She Saw Me Coming", "Dangerous Beauty" and "Sweet Neo Con", percussion

Keith Richards – guitars, backing vocals, keyboards, lead vocals and bass guitar on "This Place is Empty" and "Infamy", percussion on "Infamy"

Ronnie Wood – guitars

Charlie Watts – drums

Additional personnel

Darryl Jones – bass guitar on "Rough Justice", "Let Me Down Slow", "It Won't Take Long", "Rain Fall Down", "Streets of Love", "Biggest Mistake", "Oh No, Not You Again", "Laugh, I Nearly Died", and "Driving Too Fast"

*****

So if the band sounds like it doesn't have as much in the way of balls "lately" (i.e., during the past 16 years), maybe you'd better blame Mick and Keith rather than Darryl. If they would integrate him more deeply into the songwriting and producing process from start to finish, he could make a huge difference. Instead, it looks as if they just call him in at the last minute and say "here, just fill in the blank spaces." Not much he can do in that situation if the Glimmers have already determined what the groove will be and the groove is no longer up to past standards. The fact is, the fading of the Stones' sound is down to the core Stones' members, not to the potentially most talented (but under-utilized) quasi-member they've got.

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I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

What a silly caricature and over-simplification / distortion of the points I was trying to make. Did you take the time to go listen to the approach he takes to "Live With Me" on "No Security" before proclaiming that he's incapable of playing rock and roll or unwilling to do so?

I know exactly what Darryl has done with the Stones. It started out okay on Voodoo Lounge and then rapidly petered out. Try to remember the bass line from Doom and Gloom. He's irrelevant. So, maybe he's capable of playing rock and roll. Do it already. Make a freakin' difference.

Look, if this version of the Stones is acceptable in your world, enjoy yourself. I like my Stones music with some balls to it. Like it used to have When the little man with the big sound ruled the bottom of the melody.

On how many studio tracks has Darryl actually played bass during the past 20 years? On B2B, I count 8 bassists listed in the credits besides Darryl, and then here's the line-up for ABB:


Mick Jagger – lead and backing vocals, guitars, harmonica, keyboards, bass guitar on "Back of My Hand", "She Saw Me Coming", "Dangerous Beauty" and "Sweet Neo Con", percussion

Keith Richards – guitars, backing vocals, keyboards, lead vocals and bass guitar on "This Place is Empty" and "Infamy", percussion on "Infamy"

Ronnie Wood – guitars

Charlie Watts – drums

Additional personnel

Darryl Jones – bass guitar on "Rough Justice", "Let Me Down Slow", "It Won't Take Long", "Rain Fall Down", "Streets of Love", "Biggest Mistake", "Oh No, Not You Again", "Laugh, I Nearly Died", and "Driving Too Fast"

*****

So if the band sounds like it doesn't have as much in the way of balls "lately" (i.e., during the past 16 years), maybe you'd better blame Mick and Keith rather than Darryl. If they would integrate him more deeply into the songwriting and producing process from start to finish, he could make a huge difference. Instead, it looks as if they just call him in at the last minute and say "here, just fill in the blank spaces." Not much he can do in that situation if the Glimmers have already determined what the groove will be and the groove is no longer up to past standards. The fact is, the fading of the Stones' sound is down to the core Stones' members, not to the potentially most talented (but under-utilized) quasi-member they've got.

But this does not explain why even live on stage he does little, if anything, more than "filling in the blank spaces". There's enough rehearsal time, and he arrives when rehearsals start, not just one day before the first gig.

He's solid, just like Chuck. Nothing more, nothing less. Maybe that's just what they want at this stage in the game.

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I gotta say, as someone who has seen Darryl Jones play jazz fusion three or four times with the Miles Evans Band at Catalina's in LA, this idea that he is somehow a less gifted / less swinging bassist than Bill W. -- or even worse, that he takes a half-assed approach to his work with the Stones -- is completely preposterous. Just go to Catalina's sometime and watch/listen how he channels Jaco on a tune like "Teen Town" and you will be blown away by how completely locked-in and focused and rolling-the-whole-thing-forward he is, by dancing in front of and behind the main beat: "rocking," if you like. If you don't like the Jaco style, check his work on the live "Live with Me" track on "No Security" and tell me that he isn't completely on top of his game. Or the way he handled "Miss You" on the last mini-tour (which Mick J. himself praised during the mid-December pay-per-view). The fact is that Darryl could sweep the street with any of the Stones as musicians, with the possible exception of Charlie Watts and Mick Taylor. But I sense that he *chooses*, for political and personal reasons, to hold back a little so as not to upstage his Stones' friends and benefactors (who, I sense, from a short conversation I had with him once at Catalina's, he genuinely likes and respects -- all of them, and not just because of the paycheck they give him). Contrast this to Mick T., who completely blew Mick, Keith, and Ronnie away with his guitar playing during the pay-per-view: you could see by the look on all their faces that "holy shit, this guy is in another league as a guitarist compared to us" -- but in that way Mick T. embarrassed them a bit. Possibly because of his chemical experimentation, etc., Mick T. doesn't seem to have the political savvy or even just human empathy that Darryl has. Darryl, I believe, *chooses* to lay back a little and play a far more subtle role than he is certainly capable of playing because (a) trying to upstage the Stones would be churlish, petty, and narcissistic, and (b) he likes the Stones personally and he genuinely appreciates what they've done for them: he wouldn't want to hurt their feelings or show disrespect/ingratitude by doing anything that would appear to upstage them. I sense Darryl is a complex, deeply intelligent, multifaceted character who has calculated the proper role he should play for the Stones during the final two or three decades of their career. Consequently, all the Darryl-bashing seems completely uninformed, mindless, and off-the-mark to. I frankly think the Darryl-bashers haven't got a clue what they're talking about.

So, let me get this straight, Darryl Jones is too good for the Stones? Their music, which some of us are fond of, is so simplistic and childish, that Darryl is doing us a favor by hiding the light of his talent under a bushel basket? By adding nothing emotionally to the Stones music, he is keeping us from facing how utterly empty that music is and how wrong we've been for the past 50 years....and counting?

What a load of crap. It reminds me of the mid-70s when everybody wanted to noodle on bass all day like Stanley Clarke. It was cute for about a year, but no one listens to Jon Luc Ponty music now.

I supposed you're right. Why should Darryl try to approximate the embarrassingly juvenile bass lines that the no talent Bill Wyman thudded down in a feeble attempt to give the Rolling Stones music some back bone? We all know that rock and roll is crap and that's why Mick Taylor left in 1974, to go make meaningful jazz. And what meaningful music he never made.

I guess we're lucky to have a musician the caliber of Darryl Jones even bother to show up on stage and exchange secret grins with Keith. They both know that if Darryl wanted to, he could just swing like a mofo and leave all that Stones kindergarten music on the scorched earth below. He could pump up that old Stones crap so much that people would refuse to leave the stadium. But Darryl is kind and intentionally adds nothing to the music, for fear of overshadowing it. My poor, de classe ears, preferring what Bill Wyman played instead of what Darryl Jones doesn't play.

I'm sure Darry Jones is a nice guy. But he's not a rock and roller, and this is a rock and roll band. If it's so damn easy to play why doesn't he take a swing at it sometime? Rock and Roll is a hobby to him, a sideline. It's not in his bones. Rock and Roll is all emotion. Maybe him and Charlie can snicker together at this contemptible noise they're paid a fortune to recreate.

Always remember that rock never sought to fuse with jazz. It was jazz that came to rock and roll's door. Jimi Hendrix didn't ask to play with Miles, it was the other way around.

What a silly caricature and over-simplification / distortion of the points I was trying to make. Did you take the time to go listen to the approach he takes to "Live With Me" on "No Security" before proclaiming that he's incapable of playing rock and roll or unwilling to do so?

I know exactly what Darryl has done with the Stones. It started out okay on Voodoo Lounge and then rapidly petered out. Try to remember the bass line from Doom and Gloom. He's irrelevant. So, maybe he's capable of playing rock and roll. Do it already. Make a freakin' difference.

Look, if this version of the Stones is acceptable in your world, enjoy yourself. I like my Stones music with some balls to it. Like it used to have When the little man with the big sound ruled the bottom of the melody.

On how many studio tracks has Darryl actually played bass during the past 20 years? On B2B, I count 8 bassists listed in the credits besides Darryl, and then here's the line-up for ABB:


Mick Jagger – lead and backing vocals, guitars, harmonica, keyboards, bass guitar on "Back of My Hand", "She Saw Me Coming", "Dangerous Beauty" and "Sweet Neo Con", percussion

Keith Richards – guitars, backing vocals, keyboards, lead vocals and bass guitar on "This Place is Empty" and "Infamy", percussion on "Infamy"

Ronnie Wood – guitars

Charlie Watts – drums

Additional personnel

Darryl Jones – bass guitar on "Rough Justice", "Let Me Down Slow", "It Won't Take Long", "Rain Fall Down", "Streets of Love", "Biggest Mistake", "Oh No, Not You Again", "Laugh, I Nearly Died", and "Driving Too Fast"

*****

So if the band sounds like it doesn't have as much in the way of balls "lately" (i.e., during the past 16 years), maybe you'd better blame Mick and Keith rather than Darryl. If they would integrate him more deeply into the songwriting and producing process from start to finish, he could make a huge difference. Instead, it looks as if they just call him in at the last minute and say "here, just fill in the blank spaces." Not much he can do in that situation if the Glimmers have already determined what the groove will be and the groove is no longer up to past standards. The fact is, the fading of the Stones' sound is down to the core Stones' members, not to the potentially most talented (but under-utilized) quasi-member they've got.

It's hard to tell how talented he is. He's a friggin' jazzer, in love with the Jaco Pastorios school of treating the bass like a lead guitar. Darryl has no sound of his own. I certainly couldn't pick him out in a song. I just went to You Tube and typed in Darryl Jones bass. I watched a few videos and they were all of him burbling along to nowhere. There was an old video of a young, much thinner Darryl Jones, playing with Sting on Drive To Tears. Again, he does not enhance the song or bring it up to the level Sting's original bass lines did.

I did hear his trait of not interfering with the music at all, as if he was purposely remaining in the background. By not interfering I also mean not contributing anything meaningful. So that makes two white British bassists ten times more funky than Darryl Jones.

I even tracked down a Miles Davis cut with Darryl on bass.
[www.youtube.com]

Very uninspiring. I'm sure he could sit in with Weather Report all night long. So, I think the idea that Darryl is holding back on playing some world class fat bottom rock and roll bass is a fallacy. Rock and Roll bass is a different animal. No noodling allowed. In reality Bill is one of the pioneers of electric bass on rock and roll records and stage. Its usage was maybe 5 years old at best the first time the Stones stepped into a studio.

Bill was first steeped in the rock and roll stand up bass of guys like Bill Black (Presley) Marshall Lytle and Al Rex (of Bill Haley & the Comets). Darryl just doesn't have that. His heroes were jazz players. Which is fine. Unless you're supposed to be the bass player in the Greatest Rock & Roll Band In the World.

I don't know, dude. I think we'll just have to agree to disagree. But when someone has the kind of resume that D.J. has -- and receives accolades from the kind of people he plays with -- I tend to assume, if I have any doubts, that I'm the one who needs to do the re-thinking instead of all the professional musicians who praise him and want to work with him.

Here, by the way, is a very interesting interview of Darryl from 1995 that I think reinforces some of the points I've been making:



BASS PLAYER
Jan/Feb '95 Darryl Jones: Like A Rolling Stone
By Chris Jisi

Darryl Jones has had a career that Forrest Gump would envy. Rising from relative obscurity ten years ago to join Miles Davis's band, "The Munch" has gone on to provide the punch for Sting, Peter Gabriel, Madonna, and now the Rolling Stones. In the process he has forged a resume that reads like a Hollywood script (and, in fact, includes appearances in such films as Sting's Bring On the Night and Madonna's Truth or Dare). Most impressively, he has accomplished all of this with a musical concept so basic even the simple Southerner of big-screen fame would appreciate it. "People ask, 'How have you had to change your style to play with the Rolling Stones?'" says Darryl. "My answer is, I haven't had to. With the Stones, I'm doing what I've done with everyone else. My approach to all music is: break it down, cut away the excess, and get back to the fundamentals."
Jones was born on December 11, 1961, on Chicago's South Side. After eight years of exposure to jazz recordings and pop radio at home, he requested lessons from his father, a drummer. Darryl saw his neighbor, Angus Thomas, playing bass guitar in a talent show, and he decided to make the switch not long after. With financial help from his older brother, Darryl bought a Hofner Beatle Bass copy and began studying with Thomas. Sold on a career in music, he entered Chicago Vocational High School, where he took theory courses, played electric bass in stage bands, and bowed a string bass in the orchestra. Upon graduating, he began to establish himself on the local scene, eventually landing gigs with pianist Ken Chaney and guitarist Phil Upchurch.
One of Jones's regular Windy City rhythm-section mates was drummer Vince Wilburn Jr., a nephew of Miles Davis. Wilburn told Miles about Darryl during a Japanese tour in 1983; upon returning, Miles placed a call to Chicago. "He wanted to hear me play over the phone," Jones remembers. "I ran around looking for my bass, and when I came back, he asked me if I could be in New York the next day. I said yes, and then I asked if he still wanted to hear me over the phone. He said, 'Well, you can play, can't you?' I said, 'Yes,' and he said, 'Good, because if you can't, I'm going to kill Vince.'" Darryl auditioned in person and a week later found himself onstage in St. Louis with Davis, guitarist Mike Stern, guitarist John Scofield, saxophonist Bill Evans, percussionist Mino Cinelu, and drummer Al Foster.

Concluding a two-year run that was documented on Decoy and You're Under Arrest, Jones--with Miles's blessing--moved on to join Sting at the recommendation of saxophonist Branford Marsalis. The ex-Police man and his "jazz band"--Jones, Marsalis, drummer Omar Hakim, and keyboardist Kenny Kirkland--proceeded to turn the pop world on its ear with The Dream of the Blue Turtles and subsequent tours. When the project ended, Jones settled in New York and spent two years at the core of the Big Apple's contemporary jazz scene, working with Stern, Scofield, guitarist Hiram Bullock, the Gil Evans Big Band, and Steps Ahead. Growing weary of his gig-to-gig cycle in Gotham, Darryl returned to Chicago in 1989, determined to focus on writing and performing his own music. Demand for his rock-solid feel, however, kept him busy as a sideman on tours with Herbie Hancock & the Headhunters, Peter Gabriel, and Madonna, and on recordings with everyone from Eric Clapton to Spike Lee.

Last year, Jones relocated to Los Angeles. He was attempting to put down roots, so to speak, while hanging out and playing with members of the Tonight Show Band, when the Stones came a-calling. His new home is stage-left on the Voodoo Lounge tour; his neighbors are vocalists Lisa Fischer and Bernard Fowler, keyboardist Chuck Leavell, hornmen Bobby Keyes, Andy Snitzer, Kent Smith, and Mike Davis--and, of course, Woody, Charlie, Keith, and Mick.

How did you land the gig with the Stones?

I got to meet Mick Jagger in 1985 while I was working on the film Bring On the Night with Sting, and I met Keith Richards in 1987 through Charley Drayton and Steve Jordan, who were working on his Talk Is Cheap record [Virgin]. When I found out Bill Wyman was leaving the Stones, I called Mick Jagger's management and left a message saying I was interested in auditioning. I also tried to send messages to the Stones through friends. I don't know which method worked, but I got on the list.

Why did the gig appeal to you?

When I saw Keith with the X-Pensive Winos, I began to think it might be interesting to play rock & roll. My first thought was that if Keith's gig became available, I'd be into trying out. It didn't, but when Bill Wyman left, I thought, Well, why not the Rolling Stones?

What was the audition process?

I was asked to come to New York in June 1993. We played through a bunch of hits: "Brown Sugar," "Miss You," "Tumbling Dice," "Start Me Up." Everything felt good and I thought, No matter what happens, I've had a lot of fun--and maybe I'll hear from them. They called again in October; this time they wanted to play through material they'd written for Voodoo Lounge. After that, they asked me to come work on the record in Dublin. When we finished, there were rumors of a tour, but nothing official was said.

Last March, I went to hang out with Mick and Keith at a mixing session. Keith told me I had just missed Charlie, and he related a conversation they'd had that day:

Charlie: "We're going to use Darryl on the tour, right?"

Keith: "Yeah. He played on the record, and we dug it, so, yes-- he's doing it."

Charlie: "Well, don't you think we should tell him?"

Keith: "I guess you're right."

Then Keith said, "So, I'm telling you." [Laughs.] I didn't tell anyone, though, until the band formally announced it.

Did you feel a bit intimidated about working with them?

Not at all. There's mutual respect, and this is a situation that's about everybody having fun making music. The Stones have opened their arms and tried to make a place for me, so it's been really cool.

Having a mutual jazz background with Charlie Watts must have been a factor in your hiring.

I'm sure it didn't hurt, but I think it was more that he felt comfortable playing with me--I know I felt comfortable with him.

How did you research for the audition?

I didn't research much. Basically, I got a few of their "best of" records and listened and played along. Instead of learning Bill Wyman's parts verbatim and then trying to sound like him, I learned the form of the songs and the general shape of the bass lines, and then I added my own interpretations. I felt it was important to play in my own style so they would be hiring me for me. On certain songs, however, I play the lines note-for- note because they're essential parts--like in "Start Me Up" and "Satisfaction."

There are a few Wyman-esque lines on Voodoo Lounge--like the opening riff of "I Go Wild" and the octave climbs in the bridge and fade-out of "Suck on the Jugular."

I can't think of any sections where I tried to cop his exact style. I actually borrowed the octaves on "Jugular" from Jaco Pastorius's line on "River People" [from Weather Report's Mr. Gone, Columbia]. It's my little tribute to Jaco.

What's your assessment of Wyman's playing?

Even though he usually isn't in the forefront when people talk about the Stones sound, Bill Wyman is, in my estimation, a good musician and an underrated bassist. I've been listening to his lines, the different approaches he took to songs. He obviously knew a lot about this music after playing it for so long.

Did your preparation include listening to the early blues that influenced the Stones?

I've listened to some Muddy Waters records, but I didn't really go back that far until after the fact. I'd hang out in Keith's room late at night listening to old blues records, and he'd point out passages that had inspired his writing or playing. My whole approach--even from before the audition--has been to try to conceptualize what I would have sounded like and what instrument I would have used if I were playing rock & roll with the Stones in the '60s and '70s.

Did you feel obligated to use a vintage bass?

That was my first inclination, and I did use a Fender for the audition to make that point. But at the same time, Roger Sadowsky's basses are built so much in the Fender style, and he uses the active electronics to enhance, rather than change, the sound--so those instruments function better in this style of music than you might expect. That became especially clear when we recorded. I used Fenders on certain songs, but there was something about the warm, fat, round tone of my Sadowsky. I'd say I played it on 45% of the album. In fact, [producer] Don Was--a fellow bassist--called Roger and said, "Send me a bass just like Darryl's." [Ed. Note: Was related this story in his interview in Sept/Oct '94.]

Is that a fretless acoustic bass guitar on "Mean Disposition"?

Yes--Ronny's Zemaitis fretless. I muted the strings with my left hand and plucked them with my thumb to get a Willie Dixon- type sound. That tune has one of those old R&B feels, with Charlie swinging the ride cymbal but rockin' the rest of the kit.

You apparently don't feel the need to slap, tap, or use any 5- or 6-string basses with the Stones.

No, those things don't seem appropriate. In fact, I use a pick when we play "Satisfaction" live--I think it really calls for that sound.

How were the basses recorded?

In various ways. We used my rack and my Meyer Sound speakers, an Ampeg SVT head, and an Ampeg B-15; there was also a direct signal from an active direct box. [Engineer] Don Smith used a number of old limiters and compressors to get some great bass sounds.

How did you come up with your parts for the album?

For the most part we all played live; we'd learn the tunes and then record different versions over a few days, which was similar to the way Miles recorded. In some cases, I'd just pick up the bass and play whatever I felt was needed for the song, and that worked well. On other songs, Mick might ask me to drive a section harder or move from straight eighth-notes to a figure--or he'd sing a line and I'd work it in. He would always say that if I wasn't comfortable with something he suggested, I didn't have to play it--so I was given a lot of freedom. Mostly, I just used my intuition.

The steady eighth-note pattern seems to be the staple of rock bass playing.

That's often the case, and I've certainly gained a better understanding of the intricacies involved. There are a thousand ways to play eighth-notes with respect to left-hand articulation, right-hand attack, note choices, note duration, use of space, phrasing, and overall feel. Then again, sometimes I'll start playing an eighth-note line with two right-hand fingers, only to find out that using anything more than one finger is overkill.

After playing with so many world-class drummers in different styles, what was your approach to working with Charlie Watts?

The only thing I did--and I do this with all drummers--is listen. My first order of business is to listen and lock in, to build the foundation of the house; everything else comes after that. My attitude is: Let's nail the song to the floor so it can go out as far as it needs to go.

Charlie has been great to work with. One of the fascinating characteristics of his style, which I've come to appreciate, is that he sometimes plays his fills slightly ahead of the beat. I've heard other drummers do this, and I wouldn't be surprised if they got it from Charlie. That little edge he puts on the fill creates an interesting tension in the music.

You get around quite a bit onstage. Were you given any stage direction?

Nothing was said. But I don't use just my fingers and ears to play bass--I use my whole body. I also use my eyes to connect with what everyone is doing around me. That all goes back to Miles; I used to watch him take tiny steps backwards across the entire stage, and I'd see people's eyes glued on him. Everyone has a certain stage manner; Sting has his hopping move, and I'm developing my own.

You're also singing background vocals. Were you drafted?

No--I wanted to. In fact, I'd like to be singing even more. The crew had set up a mike near me at the rehearsals, before the background singers were brought in; one day, while we were playing some material from Voodoo Lounge, I heard some missing vocal parts, so I instinctively went over and sang them.

The thing I'm learning is that it's all music. Drummers should play bass, and vice versa; people who don't sing should try, and so on. These things all allow you to make another connection to the music. I have nothing against people who just play bass, but at this point I feel the need to be involved on more levels.

It seems that playing with Miles exposed you to much of what you would later encounter with pop and rock acts.

That's true. Miles played the blues, and he played pop songs, like [Cyndi Lauper's] "Time After Time." He performed in front of huge audiences, and there was a vast amount of media attention. When I joined Sting's band, people would ask about the difference between playing behind a trumpet and playing behind a voice, and I'd say, "Man, Miles is a voice."

Did you and Sting ever have any bass-intensive conversations?

Not really, but he wrote some great bass lines, and my ear was open to that. What impressed me most about Sting, besides his obvious gifts as a composer and lyricist, was that he combines idioms so well--and that allows him to create his own music and his own market. He's not trying to "do" anyone else.

Your stint with Peter Gabriel, where you filled in for Tony Levin, bears similarities to your current situation with the Stones. What are your reflections on that period?

In addition to being a great artist and vocalist, Peter has the ability to sort of become the thing he's singing about onstage. When I played with Peter, I was aware of Tony's work--but as with the Stones, sometimes I'd play parts exactly like his while other times I'd play something completely different.

What was your musical approach with Madonna?

Because of the nature of the music, a lot of the bass lines needed to be played pretty much verbatim. The most interesting aspect of that tour, though, was watching her use all of the available resources to make her vision a reality.

Is there anyone else you'd like to play with?

I'd love to do some gigs with James Brown, and maybe with a great blues player like John Lee Hooker. Those two immediately come to mind, but there are more. As I've said before, I have a fascination for musicians who have been doing what they do for a long, long time. There's so much to learn from playing with that kind of artist.

Some people still have a problem with seeing an African- American musician in a rock & roll band. Have you encountered any trouble in that regard?

Not so far. There's no denying where some people are on that issue, so I won't comment. On the positive side, though, I will say I hope I'm living proof that if there's something you want to do, you should just go out and do it. It might be difficult, but nothing is impossible.

What bassists have impressed you recently?

Victor Wooten plays his ass off, and Me'Shell Ndege'Ocello is very funky and inventive. I love Pino Palladino's fretless work. I just saw Hutch Hutchinson play with Bonnie Raitt, and I was very impressed. And there's a talented young woman in Los Angeles, Share Pederson, who used to play bass with Vixen.

I wouldn't be surprised if the next wave of heavy bassists comes from Africa--players like Armand Sabal-Lecco and Habib Faye, who's with Youssou N'Dour. Those cats are so bad! They don't seem to perceive it as just a bass guitar; to them, it's a musical instrument, so they can play anything they want on it.

Who were the key bassists in your own development?

Angus Thomas, of course, who was my first teacher. I used to bring my bass over to his place, and we would play through a wide range of tunes--everything from the Staple Singers, Sly Stone, and Earth, Wind & Fire to Hendrix, Led Zeppelin, and the Allman Brothers. Beyond Angus, I would say Larry Graham, Stanley Clarke, and Jaco were the key players. Larry opened my ears to what the instrument could do, both sonically and technically, through slapping and popping and his use of effects like the fuzztone. Stanley broadened that concept, in terms of my thinking about soloing and developing the facility to play challenging music. Thosn Carter, James Jamerson, Bootsy Collins, and Anthony Jackson as important influences.

What does the future hold concerning your often- sidetracked solo career?

Currently, I'm signed on for the duration of this tour; what happens beyond that is anyone's guess. Regardless, I'm thrilled to have become a part of the history of the Rolling Stones. When I was a kid I didn't say, "I want to be Michael Jackson"-- I'd say, "I want to play bass for Michael Jackson." Fortunately, my career has been the realization of many of those dreams. But after you come to a certain point you start to look over the hill for some new dreams. For me, that's writing and performing my own music, and right now, based on what I've learned in the past few years, I'm once again looking to get back to the basics. I know my altered jazz chords; I want to re- examine three- and four-note chords and the way they function in a simple, profound song. At some point I'll break out my upright and play straightahead jazz, I'll pursue composing music for film--things like that. But for the moment, there's something about writing a song that you can just sit down and play on an acoustic guitar and still get your point across.

In other words, it's only rock & roll but you like it.

Exactly.

MUNCHABLES

Darryl Jones has been rotating basses as the Voodoo Lounge tour progresses. At press time, his main instrument was a white '66 Jazz Bass; other axes along for the ride include a "custom black" '65 Jazz, a sunburst '58 Precision, an Ernie Ball Music Man Sterling, an Albey Balgochian fretless, and two Sadowsky 4-strings, in black and blue (appropriately). Both Sadowskys are fitted with Hipshot XTenders. The P-Bass sports flatwounds, while the rest of the basses are strung with DR Lo- Rider MH-45 nickel roundwounds (.045, .065, .085, .105). Darryl's picks are standard-size Ernie Balls, in heavy and extra- heavy gauges. He uses Monster Cables.

According to bass and guitar tech Dave Rouze, Darryl's road rig is powered by two Crown Macro-Tech 2400 amps and two Micro-Tech 1200s. They drive four Meyer Sound USW-1 2x15 cabinets, as well as four Meyer Sound wedges--UPA-1 12s with horns. Rack gear includes two Ashly preamps, a Demeter preamp, and a Tech 21 SansAmp preamp, each used with different basses. There are no effects. Everything is run in mono and sits stage-left, behind Jones. After checking out numerous wireless systems for the best low-end response, Darryl chose a new prototype made by Beyer.

SELECTED DISCOGRAPHY

With the Rolling Stones: Voodoo Lounge, Virgin. With Miles Davis: (both on Columbia) You're Under Arrest; Decoy. With Sting: (both on A&M) Bring On the Night; The Dream of the Blue Turtles. With Madonna: Truth or Dare, soundtrack, Sire. With Eric Clapton: Journeyman, Epic. With John Scofield: Still Warm, Gramavision. With Spike Lee & Branford Marsalis: Mo' Better Blues, soundtrack, Columbia. With Adam Holtzman: In a Loud Way, Manhattan. With Carmen Bradford: Finally Yours, Amazing. With Pee Wee Ellis: Blues Mission, Gramavision. Darryl also played on an upcoming album by Joan Armatrading.

Very interesting, thanks. It's odd to read people discussing in earnest VL songs like IGW, SOTJ and MD that are now (with good reason) long forgotten...and also to think that over the past 20 years with the Stones, and admittedly only 3 albums, Darryl never evolved from his "session musician" role really. Actually it seems he was more involved in the VL recording (Mick singing him lines but saying it's ok not to use them, hehe) than for B2B or ABB...Oh and backing vocals, he did sing some at the Trabendo (with Chuck) not terribly convincing! A waste of talent but then it must have been financially rewarding so...

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IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

Thanks, Zulu, for that interview.

Funny to think that there is a bass player that was inspired to play rock'n'roll by Keith's Winos. And some years later he was playing the bass in the 'greatest rock'n'roll band in the world'.

Darryl's career has been rather extraordinary, and I guess partly for that reason they chose him. He surely wasn't any obvious choice, taking his 'CV'. Almost like an opposite to Ronnie Wood who, with his background, looks and all, was 'fitting' in many sense of the word. Now they really wanted a player from 'out of the box'.

But I can't help but thinking that he never really got integrated to the band, but just does his job as a hired hand can do. But then again, he is a part of the package - with Chuck, Lisa, etc. - that constitutes the modern Stones sound and gives the professionalism needed. One could even claim that he does the job better in that than Bill Wyman did in 1989/90.

- Doxa



Edited 2 time(s). Last edit at 2013-12-09 13:55 by Doxa.

"When I saw Keith with the X-Pensive Winos, I began to think it might be interesting to play rock & roll." That pretty much says it all. He's almost 30 years old and he gets into rock and roll on a whim. And the reason he sounds better on Voodoo Lounge is because he was consciously keeping the Bill Wyman style in mind.

I would love to hear how Bill Wyman would have approached a few jazz numbers. The one shot we had was 'Terrifying' and Bill did just fine. And it's not like Bill wasn't in demand. I can't see Darryl backing Howling Wolf on the London Sessions, or playing behind Muddy Waters on tour like Bill did.

Darryl's resume is quite impressive. Gosh, he played with Madonna, and Sting. Poor Bill. His only real claim to fame is being the bass player for the Rolling Stones their first 30 years.

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24FPS
"When I saw Keith with the X-Pensive Winos, I began to think it might be interesting to play rock & roll." That pretty much says it all. He's almost 30 years old and he gets into rock and roll on a whim. And the reason he sounds better on Voodoo Lounge is because he was consciously keeping the Bill Wyman style in mind.

I would love to hear how Bill Wyman would have approached a few jazz numbers. The one shot we had was 'Terrifying' and Bill did just fine. And it's not like Bill wasn't in demand. I can't see Darryl backing Howling Wolf on the London Sessions, or playing behind Muddy Waters on tour like Bill did.

Darryl's resume is quite impressive. Gosh, he played with Madonna, and Sting. Poor Bill. His only real claim to fame is being the bass player for the Rolling Stones their first 30 years.

While you're probably right on all accounts here 24FPS, I'm just going to go with whatever Mick, Keith and Charlie decide. They probably don't have an actual clue what they're doing, but it just makes it easier and keeps the stress level in check.

My appreciation for Darryl has sky rocketed over this tour especially, what a bassist. I'd argue that he's certainly the most musically talented and technically able musician up on that stage, even more so than Mick Taylor. He is a solid bassist who helps anchor down this lineup of the Stones and he deserves more credit.

That said, he doesn't have a distinct sound imo but I wouldnt want him too, that for me is Bill's contribution a distinctive sound, I just want someone up there to play bass for the Rolling Stones and he does it admirably.

I don't want him to sound like Bill because if he tried to be too much like Bill it would spoil it for me, there is only one Bill Wyman and he doesn't play with them anymore.

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treaclefingers

Quote
24FPS
"When I saw Keith with the X-Pensive Winos, I began to think it might be interesting to play rock & roll." That pretty much says it all. He's almost 30 years old and he gets into rock and roll on a whim. And the reason he sounds better on Voodoo Lounge is because he was consciously keeping the Bill Wyman style in mind.

I would love to hear how Bill Wyman would have approached a few jazz numbers. The one shot we had was 'Terrifying' and Bill did just fine. And it's not like Bill wasn't in demand. I can't see Darryl backing Howling Wolf on the London Sessions, or playing behind Muddy Waters on tour like Bill did.

Darryl's resume is quite impressive. Gosh, he played with Madonna, and Sting. Poor Bill. His only real claim to fame is being the bass player for the Rolling Stones their first 30 years.

While you're probably right on all accounts here 24FPS, I'm just going to go with whatever Mick, Keith and Charlie decide. They probably don't have an actual clue what they're doing, but it just makes it easier and keeps the stress level in check.

Hey, I just want more archive releases with Bill on bass. Bobby Zimmerman and me like the pre-94 band. What's gone is gone. Brian took his sensitivity from the band. Mick Taylor took his musicianship. Bill took the roll. I hope the Rolling Stones continue to turn on as many new converts as they can, and maybe bring back some memories for old farts who haven't seen them before. But I think a lot of long time fans have seen the writing on the wall. And that's cool. It was a good run.

Oh dear it seems that allowing Charlie Watts to pick Bill's successor was about as sensible as allowing Alex Ferguson to pick his..

Darryl has done a great job all this years, being solid while never upstaging the main Stones, what would have been a great sin. Quite like Bill always did

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Stoneage
Here is Bob Dylan's view of the situation. Taken from an interview by Bill Flanagan (BF) from April 13, 2009:

BF: What do you think of the Stones?
BD: What do I think of them? They’re pretty much finished, aren’t they?
BF: They had a gigantic tour last year. You call that finished?
BD: Oh yeah, you mean Steel Wheels. I’m not saying they don’t keep going, but they need Bill. Without him they’re a funk band. They’ll be the real Rolling Stones when they get Bill back.

Also around that time frame Dylan introduced "Neighbours" in his radio show as "here is Mick with Keith, Ronnie, Charlie and the bass player"...

Dylan seemingly do not much follow Stones tours, but has a distinctive ear for their bass-playing.

- Doxa

Quote
Doxa

Quote
Stoneage
Here is Bob Dylan's view of the situation. Taken from an interview by Bill Flanagan (BF) from April 13, 2009:

BF: What do you think of the Stones?
BD: What do I think of them? They’re pretty much finished, aren’t they?
BF: They had a gigantic tour last year. You call that finished?
BD: Oh yeah, you mean Steel Wheels. I’m not saying they don’t keep going, but they need Bill. Without him they’re a funk band. They’ll be the real Rolling Stones when they get Bill back.

Also around that time frame Dylan introduced "Neighbours" in his radio show as "here is Mick with Keith, Ronnie, Charlie and the bass player"...

Dylan seemingly do not much follow Stones tours, but has a distinctive ear for their bass-playing.

- Doxa

I think he said "the bass player" to highlight Bill's importance for the band

Quote
DandelionPowderman

Quote
Doxa

Quote
Stoneage
Here is Bob Dylan's view of the situation. Taken from an interview by Bill Flanagan (BF) from April 13, 2009:

BF: What do you think of the Stones?
BD: What do I think of them? They’re pretty much finished, aren’t they?
BF: They had a gigantic tour last year. You call that finished?
BD: Oh yeah, you mean Steel Wheels. I’m not saying they don’t keep going, but they need Bill. Without him they’re a funk band. They’ll be the real Rolling Stones when they get Bill back.

Also around that time frame Dylan introduced "Neighbours" in his radio show as "here is Mick with Keith, Ronnie, Charlie and the bass player"...

Dylan seemingly do not much follow Stones tours, but has a distinctive ear for their bass-playing.

- Doxa

I think he said "the bass player" to highlight Bill's importance for the band

Dylan knows exactly what he's saying. He's one of the few people in the world who has the gravitas to poke fun at the Rolling Stones. Various Beatles have done it over the years. Few others would have that authority.

Quote
24FPS

Quote
DandelionPowderman

Quote
Doxa

Quote
Stoneage
Here is Bob Dylan's view of the situation. Taken from an interview by Bill Flanagan (BF) from April 13, 2009:

BF: What do you think of the Stones?
BD: What do I think of them? They’re pretty much finished, aren’t they?
BF: They had a gigantic tour last year. You call that finished?
BD: Oh yeah, you mean Steel Wheels. I’m not saying they don’t keep going, but they need Bill. Without him they’re a funk band. They’ll be the real Rolling Stones when they get Bill back.

Also around that time frame Dylan introduced "Neighbours" in his radio show as "here is Mick with Keith, Ronnie, Charlie and the bass player"...

Dylan seemingly do not much follow Stones tours, but has a distinctive ear for their bass-playing.

- Doxa

I think he said "the bass player" to highlight Bill's importance for the band

Dylan knows exactly what he's saying. He's one of the few people in the world who has the gravitas to poke fun at the Rolling Stones. Various Beatles have done it over the years. Few others would have that authority.

In almost the same breath in the interview quoted above he also said :

The Rolling Stones are truly the greatest rock and roll band in the world and always will be. The last too. Everything that came after them, metal, rap, punk, new wave, pop-rock, you name it …. you can trace it all back to the Rolling Stones. They were the first and the last and no one’s ever done it better.'

So while he isn't anally retentive enough to know the names of various tours off the top his head - he still knows what he's talking about!

Quote
Gazza

In almost the same breath in the interview quoted above he also said :

The Rolling Stones are truly the greatest rock and roll band in the world and always will be. The last too. Everything that came after them, metal, rap, punk, new wave, pop-rock, you name it …. you can trace it all back to the Rolling Stones. They were the first and the last and no one’s ever done it better.'

So while he isn't anally retentive enough to know the names of various tours off the top his head - he still knows what he's talking about!

Actually Dylan could be just another IORR contributor. Critizising the band for certain recent features (and even mixing up the names of certain tours, which only shows a healthy attitude in my book), having an ideal of what "real Rolling Stones" is all about, but most of all, showing eternal respect and love for the band. C'mon, Bob, log in!

- Doxa



Edited 1 time(s). Last edit at 2013-12-10 19:08 by Doxa.

playing the 2 video clips back to back i'm suprised the live licks version held up as good as it did-

and people wonder why i always defend bill wyman