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runaway
I’ve listened to this track but thanks for posting and 3 tracks of GHS were performed live in Rotterdam 73, Angie was a nr:1 in the Dutch top Charts.
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runaway
I’ve listened to this track but thanks for posting and 3 tracks of GHS were performed live in Rotterdam 73, Angie was a nr:1 in the Dutch top Charts.
They skipped Heartbreaker on Oct 13, and played it the next day?
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TravelinMan
Did Silver Train originate from the Sticky Fingers sessions at Stargroves? It was probably dropped from consideration from Exile because there was already a song with train references and slide guitar.
It sounds like some of the playful rock they were doing at the time of Sticky Fingers.
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TravelinMan
Did Silver Train originate from the Sticky Fingers sessions at Stargroves? It was probably dropped from consideration from Exile because there was already a song with train references and slide guitar.
It sounds like some of the playful rock they were doing at the time of Sticky Fingers.
I think you're probably right. When they started that big group of songs that went on to become "Sticky Fingers" and "Exile"; plus outtakes such as your alter-name.
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Spud
It's like loads of Stones songs before & since .
Pretty ordinary...
... but because the Rolling Stones are playing it, it sounds fantastic !
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His Majesty
Exile makes for a perfect book end and end to the story that began, album wise, with their UK debut. The covers are now originals, they have mastered the various blues and related forms and made them their own. Not only have they brought R&B to the masses, they have added their own distinctive and respected contribution to that music.
Job done, right?
What follows does feel like a band wondering what it is and where it is going. Keith's vision of how things should be is stretched beyond his comfort zone and Mick is in the early throws of the whole jet set thing and probably thirsty for more of the new and less of the old.
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His Majesty
Exile makes for a perfect book end and end to the story that began, album wise, with their UK debut. The covers are now originals, they have mastered the various blues and related forms and made them their own. Not only have they brought R&B to the masses, they have added their own distinctive and respected contribution to that music.
Job done, right?
What follows does feel like a band wondering what it is and where it is going. Keith's vision of how things should be is stretched beyond his comfort zone and Mick is in the early throws of the whole jet set thing and probably thirsty for more of the new and less of the old.
Exactly. I also get the feeling that after EXILE the 'job was done' - their biggest artistic motivation was satisfied and mission completed. There was not much to 'say' or to develop further by their own means and natural instincts. Add there that EXILE, while being without a doubt one of the strongest albums by anyone ever, was actually not that nerve at the times any longer, but as an artistic statement was drifting the Stones to more like to a sphere of their own. It was not an album looking forward but more like the last fruition of anything they have learned from rootsie, R&B-based Americana by then - them playing the stuff with an inspiration and maturity. It was an album 'looking back' actually. I think one of the reasons why it didn't get such a hyped attention at the time of its relaese was due to its nature: it has an universal and eternal appeal, beyond time and place, that is, going beyond the trends of the day. It took some time that people really grasped it's uniqueness. Probably The Stones releasing some lesser-quality albums helped to that (and with that the concept of 'best since EXILE' started to grow). Probably by the time of releasing EXILE the quality of it wasn't such a surprise but more like 'yep, that's Standard Stones quality we are used to'... I mean what else can people think after BEGGARS BANQUET, LET IT BLEED and STICKY FINGERS? I wouldn't be surprised if some people (especially always trendy-kissing critics) even felt that it was a minor disappointment. The expectations probably were incredible for them at the time.
Anyway, I think the general trait of the Stones albums after EXILE have been them trying to cope with some new things they probably haven't such a natural instinct - or a real inspiration - for as they previusly had. Very rarely it has clicked completely, SOME GIRLS being almost an exception to a rule. More generally one can hear 'aha, that's the Stones trying to readjust their game to something novel and contemporary', or to do something 'different', the results sounding many times very good no doubt, but not any longer as natural-sounding and convincing as their old masterpieces on which they just simply ruled the music and scene (I am thinking here things like "Fingerprint File", "Hot Stuff", "Cherry Oh Baby", "Emotional Rescue", "Undercover of The Night", "One Hit", etc). Add there that the Stones are rather artistic-minded - or they used to be - in that sense that they don't sound too inspired repeating something they have already mastered. It so easily sounds 'Stones-by-numbers' - something I think they intentionally tried to avoid in their post-EXILE albums, probably all the way to DIRTY WORK (but of course, there were exceptions, sometimes more, sometimes less).
So to sum this up: the general problem or dilemma of post-Big Four-era Stones stuff is: they are not that convincing to do something novel ('old dogs learning new tricks'), but they are not too inspired to repeat the old same ('been there, done that')...
Of course, all of this is logically linked to "Silver Train"....
- Doxa
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Silver Dagger
They'd also holidayed after such a grueling tour and hadn't had too much time to work on new songs. I think this is telling in the fact that they resorted to several 12 bar jam style songs that they knocked into shape and which became Star Star, Hide Your Love and Silver Train.
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Silver Dagger
They'd also holidayed after such a grueling tour and hadn't had too much time to work on new songs. I think this is telling in the fact that they resorted to several 12 bar jam style songs that they knocked into shape and which became Star Star, Hide Your Love and Silver Train.
I wouldn't want to exaggerate the 'grueling-ness' of a Stones tour. In the end touring is 23 hours per day travel or waiting in a hotel room, which in the case of the Stones is that of multimillionaire's luxury. The 24th hour is spent on a show. I think 'utter boredom' is a better expression to describe touring.
Mathijs
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Elmo Lewis
I personally think the so-called decline of GHS/IORR/BAB would be the crowning achievement of almost any other bands' career.
My son and I had this discussion over the weekend. We concluded SW/Undercover/DW were not as good as the classic albums, but were the among the best albums released in their respective years. Most played ones at my house anyway.
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Elmo Lewis
I personally think the so-called decline of GHS/IORR/BAB would be the crowning achievement of almost any other bands' career.
My son and I had this discussion over the weekend. We concluded SW/Undercover/DW were not as good as the classic albums, but were the among the best albums released in their respective years. Most played ones at my house anyway.
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His Majesty
Exile makes for a perfect book end and end to the story that began, album wise, with their UK debut. The covers are now originals, they have mastered the various blues and related forms and made them their own. Not only have they brought R&B to the masses, they have added their own distinctive and respected contribution to that music.
Job done, right?
What follows does feel like a band wondering what it is and where it is going. Keith's vision of how things should be is stretched beyond his comfort zone and Mick is in the early throws of the whole jet set thing and probably thirsty for more of the new and less of the old.
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georgie48
I will always maintain that there are/were great bands formed on this planet, but the Rolling Stones came from Outer Space ... just like the comets that created life on Earth
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Elmo Lewis
I personally think the so-called decline of GHS/IORR/BAB would be the crowning achievement of almost any other bands' career.
My son and I had this discussion over the weekend. We concluded SW/Undercover/DW were not as good as the classic albums, but were the among the best albums released in their respective years. Most played ones at my house anyway.
My sentiments entirely.
The bar is set so high for the Stones that they can never win.
It's a similar thing with folks being severely critical of the "modern Era" output.
If albums like B2B or ABB had been released by previously unknown bands they would be lauded as the best thing since sliced bread...
...or since the Rolling Stones.
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Doxa
[.. . It could be that I sometimes sound way too critical, even 'bashing' their doings, but still that is stemming out of pure admiration and interest.
- Doxa
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Doxa
[.. . It could be that I sometimes sound way too critical, even 'bashing' their doings, but still that is stemming out of pure admiration and interest.
- Doxa
Don't worry on that score.
It's usually very easy on these pages to tell whether criticism is borne of affection or malice ...