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DandelionPowdermanQuote
drewmaster
IORR was arguably the first time the Stones ever recorded “filler”, and this track certainly qualifies. Totally vapid and forgettable. No wonder the Stones buried it towards the end of the album.
Drew
There are filler on GHS, BTB, TSMR, Aftermath, OOOH and No2 as well
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Rockman
.... be a laugh ta hear some female artist do an answer-record to this one ...
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TravelinMan
Richards comes in at 0:39 right after low slide licks?
I'll have to listen later to what the rhythm guitar does. I don't even remember if there is one, couldn't hear it on my phone.
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alimenteQuote
Doxa
But one positive thing about "Short And Curlies" needs to be said: over-all IT'S ONLY ROCK'N'ROLL sounds a bit uptight record to my ears (partly due to bad production, but also due to performances and song ideas as well), but "Short And Curlies" is an exception. It really is relaxed, naturally groovy piece. The most-EXILE like number by spirit.
- Doxa
Yep, it would not sound out of place on Exile... This loose, "jam-like" feeling of "Short And Curlies" also has a lot in common with Plundered My Soul, btw. "Hide Your Love" also falls in that category. Numbers like these are (just) one of the reasons why I love the Stones...
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Palace Revolution 2000
It suffers especially by comparison. Weakest track on the album.
And also IMO - by sequencing the Stones themselves said what they felt of the song. often they have these short uptempo, kind of throwaways that get placed as second to last song.
"Too Tight", "All the Way Down", "I've Had it With You", And to some degree even "Dead Flowers", "Factory Girl", "Miss Amanda Jones", "She's So Cold", "Baby Break it Down".
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DandelionPowdermanQuote
TravelinMan
Richards comes in at 0:39 right after low slide licks?
I'll have to listen later to what the rhythm guitar does. I don't even remember if there is one, couldn't hear it on my phone.
The rhythm guitar is there, I think, but buried in the mix because of the loud piano. A strange mix. And a strange shift from emphasising Taylor's slide in the beginning to Keith's lead guitar which continues throughout
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TravelinManQuote
DandelionPowdermanQuote
TravelinMan
Richards comes in at 0:39 right after low slide licks?
I'll have to listen later to what the rhythm guitar does. I don't even remember if there is one, couldn't hear it on my phone.
The rhythm guitar is there, I think, but buried in the mix because of the loud piano. A strange mix. And a strange shift from emphasising Taylor's slide in the beginning to Keith's lead guitar which continues throughout
Yeah, I have to agree with Andy Johns on not being a huge fan of the mixes on this album.
Agree with everything, especially that S&C is the little brother to Star Star LOLQuote
GasLightStreetQuote
Palace Revolution 2000
It suffers especially by comparison. Weakest track on the album.
And also IMO - by sequencing the Stones themselves said what they felt of the song. often they have these short uptempo, kind of throwaways that get placed as second to last song.
"Too Tight", "All the Way Down", "I've Had it With You", And to some degree even "Dead Flowers", "Factory Girl", "Miss Amanda Jones", "She's So Cold", "Baby Break it Down".
Perhaps in some cases they save the more experimental songs, with respect to the sessions and tracks they've decided to make the LP, for the latter part of the album, not just ones they like the least. Hide Your Love, Winter, Can You Hear The Music on GHS; I Got The Blues, Sister Morphine, Dead Flowers, Moonlight Mile from SF - none of those are typical songs for the time; Melody, Fool To Cry and Crazy Mama from BLACK AND BLUE - one of which was a single, the other a B-side.
Look at SOME GIRLS - all of side B is not typical in that LP's regard: Far Away Eyes is over the top podunk country, Respectable is just rockin' filler (compared to what they left off, especially), Keith's one tune, delegated at the end of the LP as what would sort of be more than not common, then 2 singles, one of which is a mind blowingly stellar song, Beast Of Burden, the other a flat out bizarre tune in respect to the overall vibe of the album yet absolutely brilliant, Shattered.
Look at side B of EMOTIONAL RESCUE - the last 2 of 3 songs are the singles.
STEEL WHEELS, the last 3 of 4 are not yer normal tunes, with one being the last single from the album ala Beast Of Burden, the rest of them being an outright bland song with something interesting spliced into it, a blues and then Keith.
Everything post-SW is a wash since they put so much crap on the albums thanks to the amount of time they could use - the context is too bloated: the last half of VOODOO LOUNGE is all over the place; the last 5 tracks on BRIDGES are overkill thanks to MAWGJ and Always Suffering; A BIGGER BANG is considerably weakened by including Oh No Not You Again, Sweet Neo Con, Infamy and even Driving Too Fast.
There may've been a mindset earlier on of 'Let's put these here for people to have to listen to the other songs to get to the singles', like with ER. Maybe they just liked those songs where they put them. All The Way Down on UNDERCOVER is a potential single, so maybe that's why it's there.
Maybe they had a mindset, which always involves leaving really good tunes off for something more 'of the moment', whatever that means, and they have "finished" so there's no going back to get the good songs so the shit songs make the record.
Short And Curlies is kind of a little brother to Star Star, maybe.
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GasLightStreetQuote
TravelinManQuote
DandelionPowdermanQuote
TravelinMan
Richards comes in at 0:39 right after low slide licks?
I'll have to listen later to what the rhythm guitar does. I don't even remember if there is one, couldn't hear it on my phone.
The rhythm guitar is there, I think, but buried in the mix because of the loud piano. A strange mix. And a strange shift from emphasising Taylor's slide in the beginning to Keith's lead guitar which continues throughout
Yeah, I have to agree with Andy Johns on not being a huge fan of the mixes on this album.
Fingerprint File is the only outstanding song, mix wise, to my ears, anyway. The rest of it is a bunch of mush, although Time Waits For No One is pretty good.
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Palace Revolution 2000Agree with everything, especially that S&C is the little brother to Star Star LOLQuote
GasLightStreetQuote
Palace Revolution 2000
It suffers especially by comparison. Weakest track on the album.
And also IMO - by sequencing the Stones themselves said what they felt of the song. often they have these short uptempo, kind of throwaways that get placed as second to last song.
"Too Tight", "All the Way Down", "I've Had it With You", And to some degree even "Dead Flowers", "Factory Girl", "Miss Amanda Jones", "She's So Cold", "Baby Break it Down".
Perhaps in some cases they save the more experimental songs, with respect to the sessions and tracks they've decided to make the LP, for the latter part of the album, not just ones they like the least. Hide Your Love, Winter, Can You Hear The Music on GHS; I Got The Blues, Sister Morphine, Dead Flowers, Moonlight Mile from SF - none of those are typical songs for the time; Melody, Fool To Cry and Crazy Mama from BLACK AND BLUE - one of which was a single, the other a B-side.
Look at SOME GIRLS - all of side B is not typical in that LP's regard: Far Away Eyes is over the top podunk country, Respectable is just rockin' filler (compared to what they left off, especially), Keith's one tune, delegated at the end of the LP as what would sort of be more than not common, then 2 singles, one of which is a mind blowingly stellar song, Beast Of Burden, the other a flat out bizarre tune in respect to the overall vibe of the album yet absolutely brilliant, Shattered.
Look at side B of EMOTIONAL RESCUE - the last 2 of 3 songs are the singles.
STEEL WHEELS, the last 3 of 4 are not yer normal tunes, with one being the last single from the album ala Beast Of Burden, the rest of them being an outright bland song with something interesting spliced into it, a blues and then Keith.
Everything post-SW is a wash since they put so much crap on the albums thanks to the amount of time they could use - the context is too bloated: the last half of VOODOO LOUNGE is all over the place; the last 5 tracks on BRIDGES are overkill thanks to MAWGJ and Always Suffering; A BIGGER BANG is considerably weakened by including Oh No Not You Again, Sweet Neo Con, Infamy and even Driving Too Fast.
There may've been a mindset earlier on of 'Let's put these here for people to have to listen to the other songs to get to the singles', like with ER. Maybe they just liked those songs where they put them. All The Way Down on UNDERCOVER is a potential single, so maybe that's why it's there.
Maybe they had a mindset, which always involves leaving really good tunes off for something more 'of the moment', whatever that means, and they have "finished" so there's no going back to get the good songs so the shit songs make the record.
Short And Curlies is kind of a little brother to Star Star, maybe.
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DandelionPowderman
Then it's Monkey Man and a few exceptions to the rule, of course...
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His MajestyQuote
DandelionPowderman
Then it's Monkey Man and a few exceptions to the rule, of course...
Ace guitar, crap lyrics.
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DandelionPowdermanQuote
His MajestyQuote
DandelionPowderman
Then it's Monkey Man and a few exceptions to the rule, of course...
Ace guitar, crap lyrics.
+ Ace drums, ace bass and ace piano.
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NICOS
Loved it from the moment it was released and still do
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BeforeTheyMakeMeRun
This isn't album filler or b-side material. It's straight-up garbage.
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Doxa
But one positive thing about "Short And Curlies" needs to be said: over-all IT'S ONLY ROCK'N'ROLL sounds a bit uptight record to my ears (partly due to bad production, but also due to performances and song ideas as well), but "Short And Curlies" is an exception. It really is relaxed, naturally groovy piece. The most-EXILE like number by spirit.
- Doxa