Comments, input and alterations are very welcome!
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Rocks Off
(Mick Jagger / Keith Richards)

Rolling Stones Mobile Recording Unit, Villa Nellcote, Villefranche-sur-mer, France,
July 10 - late July & October 14 - November 23, 1971, Sunset Sound Studios,
Hollywood, Los Angeles, California, US, December 4 - 19, 1971 & January - March
1972 and Wally Heider Studios, Los Angeles, California, US, March 24 & 25, 1972

Mick Jagger - lead vocals
Keith Richards - electric guitar, harmony vocals
Charlie Watts - drums
Mick Taylor - electric guitar
Bill Wyman - bass
Nicky Hopkins - piano
Bobby Keys - saxophone
Jim Price - trumpet, trombone

Oh yeah, I hear you talking when I'm on the street
Your mouth don't move but I can hear you speak
What's the matter with the boy, he don't come around no more
Is he checking out for sure, is he gonna close the door on me
And I'm always hearing voices on the street
I want to shout, but I can't hardly speak
I was making love last night to a dancer friend of mine
I can't seem to stay in step, 'cause she come ev'ry time that she pirouettes over me
And I only get my rocks off while I'm dreaming
I only get my rocks off while I'm sleeping
I'm zipping through the days at lightning speed
Plug in, flush out and fight and @#$%& and feed
Heading for the overload, splattered on the dusty road
Kick me like you've kicked before, I can't even feel the pain no more
And I only get my rocks off while I'm dreaming
I only get my rocks off while I'm sleeping

Feel so hypnotized, can't describe the scene, feel so mesmerized, all that inside me
The sunshine bores the daylights out of me
Chasing shadows moonlight mystery
Headed for the overload, splattered on the dirty road
Kick me like you've kicked before, I can't even feel the pain no more
And I only get my rocks off while I'm dreaming
I only get my rocks off while I'm sleeping
And I only get my rocks off while I'm dreaming
I only get my rocks off while I'm sleeping
And I only get my rocks off while I get them off
Only get them off, get them off, only get them off

Produced by Jimmy Miller

First released on: The Rolling Stones - “Exile On Main Street” 2LP
(Rolling Stones Records COC 69100) UK, May 12, 1972



Edited 1 time(s). Last edit at 2014-01-27 10:47 by René.

..Oh Yeah!!!



ROCKMAN

He He, Yeah what to say...Brilliant opening number for a rock-album or what?

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The atomosphere in this track is, to paraphrase Mick, mesmerising!

One of my fave songs all categories!
Great in all parts. Opening, vocal, guitars, drums...brass (even if it sounds overdubbed).
Verse, chorus, bridge... especially the bridge.
Loose and focused at the same time. I think the Stones are perfectionists in sounding loose and relaxed.

One of the greatest rock songs of all time.

Oh gosh... just voted for the most favourite EXILE track by IORRians... That alone tells something of this track...

A perfect opener for their most unique, non-compromised, intuition-driven album ever.. Sets the mindset absolutely for the rest to come. Probably even the roughly hitted intro by Keith (isn't hearing his fingers sliding through the strings cool, huh?), with Mick's sleazy "oh yeah", would be enough to tell that point... and what a chaotic rock and roll sound fiesta the song then turns into...

A fascinating track. There is so much brilliance in it. Probably their most convincingly 'rolling' rocker ever. Played through their recent 'Americana' feel, but one cannot reduce the masterpiece only into that explanation. Only the Stones, with their unique British touch, history and experience, could sound like that. No any band or artist ever could do. Not either them before or afterwards, since the song captures them in their most hottest moment in their career. Like throughout EXILE the players are in fire, which makes every played note so damn spot on and edgy. The over all impression is that of freshnes and vitality. And passion.

Under the 'Americana' surface, there are interesting references to their own younger days. Lyrically it continues the theme of their two masterpieces, "Satisfaction" and "Let's Spend The Night Together", this time showing that maybe for the reason not getting satisfaction, might due with the "the boy" itself... Structurally the song resambles some choices in their 'pop period', especially the dramatically cooled down 'interlude' bridge part, after which all the cylinders on and more (think of the mentioned "Night" and "Have You Seen Your Mother", etc.).

But all of this is served under a masterful production guide. Each sound just having a meaning in serving the wholeness. Nothing is missed, nothing is non-necessary. Many non-conventional choices, but the balance of tracks, the volume and appearance of instruments.. All just beautiful.

One of the graetest rock and roll performances ever caught on record. Maybe the most vital one ever.

- Doxa



Edited 2 time(s). Last edit at 2014-01-20 11:44 by Doxa.

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Doxa
One of the graetest rock and roll performances ever caught on record. Maybe the most vital one ever.

- Doxa

Sorry but that's 'Like a Rolling Stone' with Bob Dylan from 'Highway 61 Revisited'....

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Come On

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Doxa
One of the greatest rock and roll performances ever caught on record. Maybe the most vital one ever.

- Doxa

Sorry but that's 'Like a Rolling Stone' with Bob Dylan from 'Highway 61 Revisited'....

Okay okay, I can't help but agree, but let's say that that song doesn't count...

- Doxa

OK - so now we're talking about one of the bigs ones, one of the really huge songs in the Stones canon that is so uplifting and overwhelming that it can transform a gig, a party or a ride in your car into a thing of absolute awe and wonderment.

There are songs that have the ability to make you transcend, to give you such a shot of energy and a feeling of well being that they are better than any material high like drink or drugs.

When I hear this song I'm flying baby. Even if it's cold or raining outside or I'm feeling low I know everything's going to be alright because of the sheer joie de vivre inherent in the grooves of this beautiful song.

For me it's another shining example of the Stones engine, the rhythmic heart that drives this wonderful group. Just listen to how Keith, Charlie and Bill connect on this song, how Keith warms up the engine of the Stonesmobile with that little guitar motif of his at the start followed by Charlie's drum roll and boom, we're off...on an odyssey driving to the heartland of American rock, soul and country that is Exile On Main Street.

Also worth mentioning is that fantastic middle eight....'feel so mesmerised, can't describe the scene'. That is so vital to the dynamic of the song that when the verse starts off again with that iconic 'the sunshine bores the daylights out of me' it takes the track to an even higher level. It's an example of absolutely masterful songwriting.

There are some songs that I never tire of and this is one of them. 10/10.



Edited 2 time(s). Last edit at 2014-01-20 13:04 by Silver Dagger.

Used to be the weak opener for a messy album with no real hits. Yeah but that changed!
One of the best songs ever from one of the best albums ever. And Doxa is spot on of course. The riff is almost stupid, comical, ironic.

<The riff is almost stupid, comical, ironic>

Can't wait for your description of the HTW-riff, then

The sunshine bores the daylights outta me..

Great line, great song.

I know I’m gonna be Exiled from the IORR for writing this, but I gotta be honest, I don’t especially dig Rocks Off. I mean, it’s okay and all, and there are some nice country-blues licks in there, but I certainly don’t get what all the fuss is about. So sue me.

The opening riff sounds tentative and mushy, and when Jagger comes in he sounds beaten down and depressed. To be sure, that dispirited Jagger voice works brilliantly in the context of their finest ballads (for example, the vastly superior Moonlight Mile, which has similar lyrical themes to Rocks Off), but his torpor here deflates the experience of Rocks Off, as opposed to elevating it. None of the other members of the band, with the exception of Charlie, sound particularly awake or thrilled to be here. And to make matters worse, when those rather shrill horns come in (as they do far too often on the rest of Exile as well) they seem to imply that the Stones themselves are too zonked out to carry the song without some outside assistance.

Is this song meant to get the adrenaline pumping? If so, it fails, at least for me. Or is it meant to be a downer? If so, it succeeds.

Drew

<Is this song meant to get the adrenaline pumping? If so, it fails, at least for me. Or is it meant to be a downer? If so, it succeeds.>

It's both, I'd say.

The verses and the bridge are kinda melancholic. The choruses are upbeat.

However, the general mood of this song is dark, very dark.

It's your opinion, and that's fine. This song takes me places, and the recording is near perfection for me.

The transition from the bridge to "the sunshine bores..." is a showcase in dynamics, so brilliantly executed, that I suspect it to be art by accident

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drewmaster
I know I’m gonna be Exiled from the IORR for writing this, but I gotta be honest, I don’t especially dig Rocks Off. I mean, it’s okay and all, and there are some nice country-blues licks in there, but I certainly don’t get what all the fuss is about. So sue me.

The opening riff sounds tentative and mushy, and when Jagger comes in he sounds beaten down and depressed. To be sure, that dispirited Jagger voice works brilliantly in the context of their finest ballads (for example, the vastly superior Moonlight Mile, which has similar lyrical themes to Rocks Off), but his torpor here deflates the experience of Rocks Off, as opposed to elevating it. None of the other members of the band, with the exception of Charlie, sound particularly awake or thrilled to be here. And to make matters worse, when those rather shrill horns come in (as they do far too often on the rest of Exile as well) they seem to imply that the Stones themselves are too zonked out to carry the song without some outside assistance.

Is this song meant to get the adrenaline pumping? If so, it fails, at least for me. Or is it meant to be a downer? If so, it succeeds.

Drew

Okay, Mr Drewmaster!
BV is informed. Your days at IORR forum are counted.



Edited 1 time(s). Last edit at 2014-01-20 13:22 by Thommie.

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DandelionPowderman
<Is this song meant to get the adrenaline pumping? If so, it fails, at least for me. Or is it meant to be a downer? If so, it succeeds.>

It's both, I'd say.

The verses and the bridge are kinda melancholic. The choruses are upbeat.

However, the general mood of this song is dark, very dark.

It's your opinion, and that's fine. This song takes me places, and the recording is near perfection for me.

The transition from the bridge to "the sunshine bores..." is a showcase in dynamics, so brilliantly executed, that I suspect it to be art by accident

It's dark but not that dark. Not as dark as Midnight Rambler, Gimme Shelter or Sister Morphine. It was probably written after they stayed up all night partying somewhere in or around Nellcote. They've got up to write a song, the Mediterranean summer sunshine is fierce and they're just coming to terms with the day. Hey, we've all been there.



Edited 1 time(s). Last edit at 2014-01-20 14:00 by Silver Dagger.

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Silver Dagger

Quote
DandelionPowderman
<Is this song meant to get the adrenaline pumping? If so, it fails, at least for me. Or is it meant to be a downer? If so, it succeeds.>

It's both, I'd say.

The verses and the bridge are kinda melancholic. The choruses are upbeat.

However, the general mood of this song is dark, very dark.

It's your opinion, and that's fine. This song takes me places, and the recording is near perfection for me.

The transition from the bridge to "the sunshine bores..." is a showcase in dynamics, so brilliantly executed, that I suspect it to be art by accident

It's dark but not that dark. Not as dark as Midnight Rambler, Gimme Shelter or Sister Morphine. It was probably written after they stayed up all night partying somewhere in or around Nellcote. They've got together to write a song, the Meditteranean summer sunshine is fierce and they're just coming to terms with the day. Hey, we've all been there.

The sound of the verses is not upbeat, rather dark, imo. And the bridge is scary as hell to me. Not really comparable to MR and GS, I agree.

It's a rollercoaster, though. But most of the song is as you describe, especially the choruses when the horns kick in.

Just noticed a mistake in the lyrics printed above.

Plug in, flush out and fire the @#$%&’ feed

It should be 'plug in, flush out and fight and fu ck and feed'.

Ive always wondered what the point of the Taylor solo at the end of the song..while the sound is being lowered and at the very end..
I wonder how long the song continued on and if it ended with one long jam..
be nice to hear.

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Eleanor Rigby
Ive always wondered what the point of the Taylor solo at the end of the song..while the sound is being lowered and at the very end..
I wonder how long the song continued on and if it ended with one long jam..
be nice to hear.

I'm pretty sure he played along all the way, but that they decided to have two rhythm guitars instead, until the ending..

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DandelionPowderman

Quote
Eleanor Rigby
Ive always wondered what the point of the Taylor solo at the end of the song..while the sound is being lowered and at the very end..
I wonder how long the song continued on and if it ended with one long jam..
be nice to hear.

I'm pretty sure he played along all the way, but that they decided to have two rhythm guitars instead, until the ending..

but why introduce the little trill so late..just seems pointless and doesnt add much to the song.

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Eleanor Rigby

Quote
DandelionPowderman

Quote
Eleanor Rigby
Ive always wondered what the point of the Taylor solo at the end of the song..while the sound is being lowered and at the very end..
I wonder how long the song continued on and if it ended with one long jam..
be nice to hear.

I'm pretty sure he played along all the way, but that they decided to have two rhythm guitars instead, until the ending..

but why introduce the little trill so late..just seems pointless and doesnt add much to the song.

Many think it does, myself included. After the high-octane horn fest, it was a nice melodic change in the outro of the song, imo.

Keith uses to say somethinhg like "we are like antennas and we take them from somewhere" or so. Well....in this case this song is so perfect that his statement is fully right. I do not know what to say about this song. Anything said would belittle it.

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DandelionPowderman

Quote
Eleanor Rigby
Ive always wondered what the point of the Taylor solo at the end of the song..while the sound is being lowered and at the very end..
I wonder how long the song continued on and if it ended with one long jam..
be nice to hear.

I'm pretty sure he played along all the way, but that they decided to have two rhythm guitars instead, until the ending..

That reminds me of the old joke that Taylor would solo from A to Z - from the start of a song all the way to the finish and they would just snip out the bits they needed and throw out the rest.

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Silver Dagger

Quote
DandelionPowderman

Quote
Eleanor Rigby
Ive always wondered what the point of the Taylor solo at the end of the song..while the sound is being lowered and at the very end..
I wonder how long the song continued on and if it ended with one long jam..
be nice to hear.

I'm pretty sure he played along all the way, but that they decided to have two rhythm guitars instead, until the ending..

That reminds me of the old joke that Taylor would solo from A to Z - from the start of a song all the way to the finish and they would just snip out the bits they needed and throw out the rest.

He he

He probably didn't. Wasn't his track audible on the Nicky Hopkins-mixes, btw?

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DandelionPowderman

He probably didn't. Wasn't his track audible on the Nicky Hopkins-mixes, btw?

Yeah you hear more of his sliding doublestops (or whatever its called)earlier in the track, but not more of the solo at the end.

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RobberBride

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DandelionPowderman

He probably didn't. Wasn't his track audible on the Nicky Hopkins-mixes, btw?

Yeah you hear more of his sliding doublestops (or whatever its called)earlier in the track, but not more of the solo at the end.

That's what I thought, thanks! So, Taylor's track is probably the third guitar track (after Keith recorded his two tracks) they recorded, to spice up the song. They used the best piece, if memory serves.

Besides that recently unearhted Nicky Hopkins outtake this is one of the rare songs off Exile of which there has never been a demo or work in progress version.

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DandelionPowderman

Quote
Silver Dagger

Quote
DandelionPowderman

Quote
Eleanor Rigby
Ive always wondered what the point of the Taylor solo at the end of the song..while the sound is being lowered and at the very end..
I wonder how long the song continued on and if it ended with one long jam..
be nice to hear.

I'm pretty sure he played along all the way, but that they decided to have two rhythm guitars instead, until the ending..

That reminds me of the old joke that Taylor would solo from A to Z - from the start of a song all the way to the finish and they would just snip out the bits they needed and throw out the rest.

He he

He probably didn't. Wasn't his track audible on the Nicky Hopkins-mixes, btw?

Mick Taylor was a guitar-solo-machine under his Stones era...he probably did then....soloing from A to Z I ment....



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