Tell Me :
Talk
that does have a dramatic, jarring effect.
I always thought it was a very fast slide down the neck..
it has a fierce finality about it..
likelier just the door slamming to the gates of hell, but we'll use yours as a backup.
I always looked for a more direct understanding and interpretation of of the line "troubadours who get killed before they reached Bombay" and could never find one or come up with one. I figured it was a vague reference to how "western" art / music / literature etc. traveled "east" and perhaps it wasn't the troubadours who took it there - they died along the way but it nevertheless got there via the many conquerors most of whom went "east'
----------------------------------------------------------------------------------
As in most things, the interpretation of text can be fairly subjective and even change over time. Last year in Bombay (now Mumbai) there was an art Exhibit titled "AND I LAID TRAPS FOR THE TROUBADORS WHO GET KILLED BEFORE THEY REACHED BOMBAY?
FRIDAY, 7 FEBRUARY, 2014 – SUNDAY, 27 APRIL, 2014
A collaboration between Kadist Art Foundation & Clark House Initiative, Bombay, India.
The image of Nil Yalter above tells a history, impossible today, travelling from Istanbul to Bombay, by trains and road, crossing several national borders. The exhibition’s title, And I laid traps for troubadours who get killed before they reached Bombay, taken from a song by the Rolling Stones, is Lucifer’s amoral recount of evil in history. Mick Jagger’s ‘Bombay’ ironically conjures all the exoticism of the East for those on the sixties hippie trail.
Recalling alternatives, the economies of the social contract, of gift-exchange, and the commons, in the face of rising exclusive nationalism, And I laid traps for troubadours who get killed before they reached Bombay is an exhibition of cultural transference: how ideas travel through objects and how the meaning of artworks will change and accrue, when brought into the context of Bombay's political and social realities, and imaginaries. The exhibition uses the Kadist Art Foundation collection as a starting point to open to other collaborations. Works exist in situ: the travel experience, more than importing a pre-existing meaning, gives them the possibility to multiply their possible interpretations in the light of a new context. Clark House, once a shipping office, a political refuge, and an antiques’ storage – a historical place for the circulation of objects and ideas – therefore becomes a site of works in conceptual and aesthetic shift.
International exhibition making is often a logistical feat that lacks the presence of a social contract between artists exhibiting and those they intend to address. To include the social contract within the exhibition, imagines an alternative economy in art as a political act. Yet the economy is a cultural phenomenon, which interacts on a personal level with people. The exhibition in Bombay circumvents the trade routes that art works tread, eliminating the chicanery of customs regulations and taxes, through instruction artworks and performances, digital files, and artists travelling to produce work while sharing techniques, conceptual inquiry and experience with younger artists.
This exhibition is the second part of a project started in Paris in 2013 with the exhibition L’exigence de la saudade, curated by Zasha Colah and Sumesh Sharma then in residency at Kadist. The first part of this collaboration had achieved in presenting the work of Indian artists, not visible enough in Europe, while asking how a work of culture may retain its radicality as it is transferred, propelled or translated into the context of Paris – to imagine what ‘cultural equality’ may mean.
With: Francis Alÿs, Liz Ballard, Yael Bartana, Yogesh Barve, Kemi Bassene, Judy Blum, Sachin Bonde, Kennedy Browne, CAMP, Ceal Floyer, Aurélien Froment, Grupo Etcetera, David Horvitz, Poonam Jain, Jamboys, Mangesh Kapse, Ben Kinmont, Lawrence Liang, Simon Liddiment, Scott Myles, Open Circle, Prabhakar Pachpute, Amol Patil, Rupali Patil, Justin Ponmany, Tatiana Pozzo Di Borgo, Prasad Nikumbh, Roman Ondak, Pratchaya Phinthong, Prajakta Potnis, Nikhil Raunak, Uday Shanbhag, Société Réaliste, Zied Ben Romdhane, Caecilia Tripp and Nil Yalter, Carey Young
Workshop at the Printmaking Studio of the Sir JJ School of Art, a pedagogical project by Aurélien Mole.
[www.kapsul.org]...
Exhibition at Clark House Initiative, Bombay, India.
"And I laid traps for troubadours who get killed before they reached Bombay" at Clark House
BOMBAY.- The exhibition’s title, taken from a song by the Rolling Stones, is Lucifer’s amoral recount of evil in history. Mick Jagger’s man of wealth and taste is a cultural transference of Mikhail Bulgakov’s unnerving devil, the urbane foreigner to St. Petersburg, the magician in the novel ‘Master and Margarita’ published in English in 1967. The recording in 1968 of ‘Sympathy for the Devil’ is captured in a film by Jean-Luc Godard ‘One Plus One’, who weaved in his own political commentary of the sixties from the hippies, to the Black Panthers, to Maoism. Jagger’s ‘Bombay’ ironically conjures all the exoticism of the East for those on the sixties hippie trail. Instead of romanticising the movements of 1968, the song calls all sinners saints and every cop a criminal. Its incantatory chorus ‘When after all/ it was you and me/ (Who who, who who)’, inverts the easy guises of blame; which the exhibition taps into, to urgently recall alternatives, the economies of the social contract, of gift-exchange, and the commons, in the face of rising exclusive nationalism.
And I laid traps for troubadours who get killed before they reached Bombay is an exhibition of cultural transference: how ideas travel through objects and how the meaning of artworks will change and accrue, when brought into the context of Bombay’s political and social realities, and imaginaries. The exhibition in Bombay combines works from the Kadist collection in Paris with productions by artists from Bombay, or those who once travelled to Bombay. Works exist in situ: the travel experience, more than importing a pre-existing meaning, gives them the possibility to multiply their possible interpretations in the light of a new context. Clark House, once a shipping office, a political refuge, and an antiques storage – a historical place for the circulation of objects and ideas – therefore becomes a site of works in conceptual and aesthetic shift.
International exhibition making is often a logistical feat that lacks the presence of a social contract between artists exhibiting and those they intend to address. To include the social contract within the exhibition, imagines an alternative economy in art as a political act. The failure of derivative economics has led to drastic changes in society. Subsequently, we have witnessed a reorganisation of politics that has begun a phase of new arrogance, derived from assumed positive growth indices, ushering in a change that is making our societies more conservative and inward-looking. Yet the economy is a cultural phenomenon, which interacts on a personal level with people. The exhibition in Bombay circumvents the trade routes that art works tread, eliminating the chicanery of customs regulations and taxes, through instruction artworks and performances, digital files, and artists travelling to produce work while sharing techniques, conceptual inquiry and experience with younger artists. A social contract emerges of anarchist making.
The exhibition is the second part of a project started in Paris in 2013 with the exhibition 'L’exigence de la saudade', curated by Clark House Initiative then in residency at Kadist. In return, this new exhibition co-curated by Clark House Initiative and Kadist Art Foundation, and hosted in Bombay, claims that genealogy by taking over the title of the publication of 'L’exigence de la saudade'. The first part of this collaboration had achieved in presenting the work of Indian artists, not visible enough in Europe: historical works (Jean Bhownagary, Tyeb Mehta, Nalini Malani, Krishna Reddy and Chandralekha) were associated with new productions by artists (including Padmini Chettur, Prajakta Potnis and Zamthingla Ruivah) in a multidisciplinary proposition deconstructing an unequivocal image of India, where instead the subcontinent was considered in its tensions and contradictions creating new political and aesthetic potentials; while asking how a work of culture may retain its radicality as it is transferred, propelled or translated into the context of Paris – to imagine what ‘cultural equality’ may mean.
[artdaily.com]
You got a good ear for the sounds of hell there with sssoul.
I remember your comment about the curious effect at the start of Midnight Rambler...about it sounding like something dropping into the depths of hell. Ever thought about becoming a film director?
Edited 1 time(s). Last edit at 2015-03-17 19:34 by Silver Dagger.
Yes, I know some people think that, but why would anyone in 1968 say the Beatles had been "killed"?
And why would anyone at any time consider a pop group wasting money and quarreling important enough
to mention in a list of Major Historical Wickedness along with crucifixions, assassinations and wars?
Not trying to put *you* on the spot, JJHMick - I've simply never understood what that interpretation stands on
Edited 1 time(s). Last edit at 2015-03-17 22:21 by with sssoul.
Before hearing the story of the B52 bomber called Troubadour, an explanation like the one
cited above seemed very likely to me. It still does, by the way. Like withsssoul wrote,
the combination of "Troubadour", "Killed" and "Bomb bay", might have stuck in Micks
subconsiousness. With the line he most of all creates an image of a violently interupted
pilgrimage. Innocent people searching for spiritual consolation of some kind were
trapped and killed, before they reached what they searched.
There's more of these images in Sympathy for the Devil, I'd say, that are not really
historically accurate, but fit the story. The kings and queens that fought for 100 years
for the gods they made is another one. I don't think the ten decades are a reference
to the 100 year war, but more of a metaphor for ages. The gods they made also could refer
to any kind of worship that leaders love to embrace to keep their underlings from
thinking for themselves.
Just as long as the guitar plays, let it steal your heart away
Edited 1 time(s). Last edit at 2015-03-18 12:49 by marcovandereijk.
That's so interesting, sssoul...
I was trying to find the old thread where we discussed this. I'll bet you know ...
Have you tried the three threads I linked to in my post about the Palomares incident?
The iorr links, I mean - in the second line or so of the post. There are probably more old threads about it,
but those floated to the top.
I found the thread: I was thinking of :This thread.
Ohhh thank you! Even as I was posting about the Palomares incident I vaguely recalled someone here
saying there was an aircraft called a Troubadour. But I still can't find anything anywhere
that says those planes that clari1977 was talking about were called that.
It is a slide down the neck.
Only when they're troubadouring?
Troubadour Tour 2015!
Sounds like a very short tour?
Talk about your favorite band.
For information about how to use this forum please check out forum help and policies.
Re: Track Talk: Sympathy For The Devil
Posted by:
MingSubu
()
Date: March 17, 2015 16:26
Keith just sliding down on the string.
Re: Track Talk: Sympathy For The Devil
Posted by:
duke richardson
()
Date: March 17, 2015 16:40
Quote
with sssoul
In the studio version there's a sound at the end of the solo as if Keith is slamming a door shut, or maybe the gates of hell.
That moment has fascinated me since the album came out and I always wait for it. What's making that sound?
that does have a dramatic, jarring effect.
I always thought it was a very fast slide down the neck..
it has a fierce finality about it..
Re: Track Talk: Sympathy For The Devil
Posted by:
treaclefingers
()
Date: March 17, 2015 16:43
Quote
MingSubu
Keith just sliding down on the string.
likelier just the door slamming to the gates of hell, but we'll use yours as a backup.
Re: Track Talk: Sympathy For The Devil
Posted by:
wanderingspirit66
()
Date: March 17, 2015 19:16
Quote
stones40
As withsssoul has stated the line 'Troubadours killed before they reach 'Bombay'
has never been explained and is really difficult to understand unless it has a hidden meaning.
Troubadours were aristocratic poet-musicians of S France (Provence) who flourished from the end of the 11th cent. through the 13th cent. Many troubadours were noblemen and crusader knights; some were kings, e.g., Richard I, Cœur de Lion; Thibaut IV, king of Navarre; and Alfonso X, king of Castile and León.
It is possible that Mick's line about 'Troubadours' is about crusader knights
or kings who wre killed on their travels.
I always looked for a more direct understanding and interpretation of of the line "troubadours who get killed before they reached Bombay" and could never find one or come up with one. I figured it was a vague reference to how "western" art / music / literature etc. traveled "east" and perhaps it wasn't the troubadours who took it there - they died along the way but it nevertheless got there via the many conquerors most of whom went "east'
----------------------------------------------------------------------------------
As in most things, the interpretation of text can be fairly subjective and even change over time. Last year in Bombay (now Mumbai) there was an art Exhibit titled "AND I LAID TRAPS FOR THE TROUBADORS WHO GET KILLED BEFORE THEY REACHED BOMBAY?
FRIDAY, 7 FEBRUARY, 2014 – SUNDAY, 27 APRIL, 2014
A collaboration between Kadist Art Foundation & Clark House Initiative, Bombay, India.
The image of Nil Yalter above tells a history, impossible today, travelling from Istanbul to Bombay, by trains and road, crossing several national borders. The exhibition’s title, And I laid traps for troubadours who get killed before they reached Bombay, taken from a song by the Rolling Stones, is Lucifer’s amoral recount of evil in history. Mick Jagger’s ‘Bombay’ ironically conjures all the exoticism of the East for those on the sixties hippie trail.
Recalling alternatives, the economies of the social contract, of gift-exchange, and the commons, in the face of rising exclusive nationalism, And I laid traps for troubadours who get killed before they reached Bombay is an exhibition of cultural transference: how ideas travel through objects and how the meaning of artworks will change and accrue, when brought into the context of Bombay's political and social realities, and imaginaries. The exhibition uses the Kadist Art Foundation collection as a starting point to open to other collaborations. Works exist in situ: the travel experience, more than importing a pre-existing meaning, gives them the possibility to multiply their possible interpretations in the light of a new context. Clark House, once a shipping office, a political refuge, and an antiques’ storage – a historical place for the circulation of objects and ideas – therefore becomes a site of works in conceptual and aesthetic shift.
International exhibition making is often a logistical feat that lacks the presence of a social contract between artists exhibiting and those they intend to address. To include the social contract within the exhibition, imagines an alternative economy in art as a political act. Yet the economy is a cultural phenomenon, which interacts on a personal level with people. The exhibition in Bombay circumvents the trade routes that art works tread, eliminating the chicanery of customs regulations and taxes, through instruction artworks and performances, digital files, and artists travelling to produce work while sharing techniques, conceptual inquiry and experience with younger artists.
This exhibition is the second part of a project started in Paris in 2013 with the exhibition L’exigence de la saudade, curated by Zasha Colah and Sumesh Sharma then in residency at Kadist. The first part of this collaboration had achieved in presenting the work of Indian artists, not visible enough in Europe, while asking how a work of culture may retain its radicality as it is transferred, propelled or translated into the context of Paris – to imagine what ‘cultural equality’ may mean.
With: Francis Alÿs, Liz Ballard, Yael Bartana, Yogesh Barve, Kemi Bassene, Judy Blum, Sachin Bonde, Kennedy Browne, CAMP, Ceal Floyer, Aurélien Froment, Grupo Etcetera, David Horvitz, Poonam Jain, Jamboys, Mangesh Kapse, Ben Kinmont, Lawrence Liang, Simon Liddiment, Scott Myles, Open Circle, Prabhakar Pachpute, Amol Patil, Rupali Patil, Justin Ponmany, Tatiana Pozzo Di Borgo, Prasad Nikumbh, Roman Ondak, Pratchaya Phinthong, Prajakta Potnis, Nikhil Raunak, Uday Shanbhag, Société Réaliste, Zied Ben Romdhane, Caecilia Tripp and Nil Yalter, Carey Young
Workshop at the Printmaking Studio of the Sir JJ School of Art, a pedagogical project by Aurélien Mole.
[www.kapsul.org]...
Exhibition at Clark House Initiative, Bombay, India.
"And I laid traps for troubadours who get killed before they reached Bombay" at Clark House
BOMBAY.- The exhibition’s title, taken from a song by the Rolling Stones, is Lucifer’s amoral recount of evil in history. Mick Jagger’s man of wealth and taste is a cultural transference of Mikhail Bulgakov’s unnerving devil, the urbane foreigner to St. Petersburg, the magician in the novel ‘Master and Margarita’ published in English in 1967. The recording in 1968 of ‘Sympathy for the Devil’ is captured in a film by Jean-Luc Godard ‘One Plus One’, who weaved in his own political commentary of the sixties from the hippies, to the Black Panthers, to Maoism. Jagger’s ‘Bombay’ ironically conjures all the exoticism of the East for those on the sixties hippie trail. Instead of romanticising the movements of 1968, the song calls all sinners saints and every cop a criminal. Its incantatory chorus ‘When after all/ it was you and me/ (Who who, who who)’, inverts the easy guises of blame; which the exhibition taps into, to urgently recall alternatives, the economies of the social contract, of gift-exchange, and the commons, in the face of rising exclusive nationalism.
And I laid traps for troubadours who get killed before they reached Bombay is an exhibition of cultural transference: how ideas travel through objects and how the meaning of artworks will change and accrue, when brought into the context of Bombay’s political and social realities, and imaginaries. The exhibition in Bombay combines works from the Kadist collection in Paris with productions by artists from Bombay, or those who once travelled to Bombay. Works exist in situ: the travel experience, more than importing a pre-existing meaning, gives them the possibility to multiply their possible interpretations in the light of a new context. Clark House, once a shipping office, a political refuge, and an antiques storage – a historical place for the circulation of objects and ideas – therefore becomes a site of works in conceptual and aesthetic shift.
International exhibition making is often a logistical feat that lacks the presence of a social contract between artists exhibiting and those they intend to address. To include the social contract within the exhibition, imagines an alternative economy in art as a political act. The failure of derivative economics has led to drastic changes in society. Subsequently, we have witnessed a reorganisation of politics that has begun a phase of new arrogance, derived from assumed positive growth indices, ushering in a change that is making our societies more conservative and inward-looking. Yet the economy is a cultural phenomenon, which interacts on a personal level with people. The exhibition in Bombay circumvents the trade routes that art works tread, eliminating the chicanery of customs regulations and taxes, through instruction artworks and performances, digital files, and artists travelling to produce work while sharing techniques, conceptual inquiry and experience with younger artists. A social contract emerges of anarchist making.
The exhibition is the second part of a project started in Paris in 2013 with the exhibition 'L’exigence de la saudade', curated by Clark House Initiative then in residency at Kadist. In return, this new exhibition co-curated by Clark House Initiative and Kadist Art Foundation, and hosted in Bombay, claims that genealogy by taking over the title of the publication of 'L’exigence de la saudade'. The first part of this collaboration had achieved in presenting the work of Indian artists, not visible enough in Europe: historical works (Jean Bhownagary, Tyeb Mehta, Nalini Malani, Krishna Reddy and Chandralekha) were associated with new productions by artists (including Padmini Chettur, Prajakta Potnis and Zamthingla Ruivah) in a multidisciplinary proposition deconstructing an unequivocal image of India, where instead the subcontinent was considered in its tensions and contradictions creating new political and aesthetic potentials; while asking how a work of culture may retain its radicality as it is transferred, propelled or translated into the context of Paris – to imagine what ‘cultural equality’ may mean.
[artdaily.com]
Re: Track Talk: Sympathy For The Devil
Posted by:
Silver Dagger
()
Date: March 17, 2015 19:32
Quote
with sssoul
In the studio version there's a sound at the end of the solo as if Keith is slamming a door shut, or maybe the gates of hell.
That moment has fascinated me since the album came out and I always wait for it. What's making that sound?
You got a good ear for the sounds of hell there with sssoul.
I remember your comment about the curious effect at the start of Midnight Rambler...about it sounding like something dropping into the depths of hell. Ever thought about becoming a film director?
Edited 1 time(s). Last edit at 2015-03-17 19:34 by Silver Dagger.
Re: Track Talk: Sympathy For The Devil
Posted by:
with sssoul
()
Date: March 17, 2015 21:16
Wow - some memory you've got there, Silver D my dear! I'm touched :E
And I had to go look up what I said: [www.iorr.org]
I do indeed seem to have a thing for the dramatic sounds Keith's guitar can make :E
And thanks to all of you clarifying what that sound in Sympathy is - very appreciated
I love the Rolling Stones
And I had to go look up what I said: [www.iorr.org]
I do indeed seem to have a thing for the dramatic sounds Keith's guitar can make :E
And thanks to all of you clarifying what that sound in Sympathy is - very appreciated
I love the Rolling Stones
Re: Track Talk: Sympathy For The Devil
Posted by:
JJHMick
()
Date: March 17, 2015 21:37
In my interpretation the troubadors-Bombay line is a hint at the Beatles. They lost Brian Epstein during their stay at the Maharishi, they were burning money at Apple Records and I'm sure the Stones felt that the Beatles' relation was steering to an end.
Re: Track Talk: Sympathy For The Devil
Posted by:
RomanCandle
()
Date: March 17, 2015 21:42
The piano part drives SFTD. Love how the song gets more and more chaotic as it progresses, with the iconic/devilish guitar solo. Jagger's lyrics are excellent, not because of the historical name-dropping.
Re: Track Talk: Sympathy For The Devil
Posted by:
with sssoul
()
Date: March 17, 2015 22:03
Quote
JJHMick
In my interpretation the troubadors-Bombay line is a hint at the Beatles. They lost Brian Epstein during their stay at the Maharishi,
they were burning money at Apple Records and I'm sure the Stones felt that the Beatles' relation was steering to an end.
Yes, I know some people think that, but why would anyone in 1968 say the Beatles had been "killed"?
And why would anyone at any time consider a pop group wasting money and quarreling important enough
to mention in a list of Major Historical Wickedness along with crucifixions, assassinations and wars?
Not trying to put *you* on the spot, JJHMick - I've simply never understood what that interpretation stands on
Edited 1 time(s). Last edit at 2015-03-17 22:21 by with sssoul.
Re: Track Talk: Sympathy For The Devil
Posted by:
ryanpow
()
Date: March 18, 2015 02:14
One of the best songs ever recorded, in any genre. What else can you say about this song?
Re: Track Talk: Sympathy For The Devil
Posted by:
marcovandereijk
()
Date: March 18, 2015 12:48
Quote
wanderingspirit66
Jagger’s ‘Bombay’ ironically conjures all the exoticism of the East for those on the sixties hippie trail. Instead of romanticising the movements of 1968, the song calls all sinners saints and every cop a criminal. Its incantatory chorus ‘When after all/ it was you and me/ (Who who, who who)’, inverts the easy guises of blame
Before hearing the story of the B52 bomber called Troubadour, an explanation like the one
cited above seemed very likely to me. It still does, by the way. Like withsssoul wrote,
the combination of "Troubadour", "Killed" and "Bomb bay", might have stuck in Micks
subconsiousness. With the line he most of all creates an image of a violently interupted
pilgrimage. Innocent people searching for spiritual consolation of some kind were
trapped and killed, before they reached what they searched.
There's more of these images in Sympathy for the Devil, I'd say, that are not really
historically accurate, but fit the story. The kings and queens that fought for 100 years
for the gods they made is another one. I don't think the ten decades are a reference
to the 100 year war, but more of a metaphor for ages. The gods they made also could refer
to any kind of worship that leaders love to embrace to keep their underlings from
thinking for themselves.
Just as long as the guitar plays, let it steal your heart away
Edited 1 time(s). Last edit at 2015-03-18 12:49 by marcovandereijk.
Re: Track Talk: Sympathy For The Devil
Posted by:
LieB
()
Date: March 18, 2015 14:09
Quite an unusual song. I loved it when I first heard it.
The Ya-Ya's version (and similar '69-70 renditions) is incredible, but they never reached those heights with it again, IMHO. It worked great in the studio with Nicky's dominant piano and the exotic feel, but as soon as they try to recapture those things on stage it loses its groove and evilness. Imagine what it could have sounded had they played it on the '72 tour with Nicky on piano and Mick Taylor on lead guitar (like a refined Ya-Ya's version).
The Ya-Ya's version (and similar '69-70 renditions) is incredible, but they never reached those heights with it again, IMHO. It worked great in the studio with Nicky's dominant piano and the exotic feel, but as soon as they try to recapture those things on stage it loses its groove and evilness. Imagine what it could have sounded had they played it on the '72 tour with Nicky on piano and Mick Taylor on lead guitar (like a refined Ya-Ya's version).
Re: Track Talk: Sympathy For The Devil
Posted by:
camper88
()
Date: March 18, 2015 16:00
.
Edited 1 time(s). Last edit at 2015-03-28 14:56 by camper88.
Edited 1 time(s). Last edit at 2015-03-28 14:56 by camper88.
Re: Track Talk: Sympathy For The Devil
Posted by:
schillid
()
Date: March 18, 2015 16:46
Quote
with sssoul
Troubadour ... killed ... bomb bay
That's so interesting, sssoul...
I was trying to find the old thread where we discussed this. I'll bet you know ...
Re: Track Talk: Sympathy For The Devil
Posted by:
schillid
()
Date: March 18, 2015 16:48
From: [www.stevey.com]
Concept: James Waley
Pencils: Gene Day
Inking & Lettering: Bill Payne
Coloring: Martin Springett
Edited 1 time(s). Last edit at 2015-03-18 22:16 by schillid.
Concept: James Waley
Pencils: Gene Day
Inking & Lettering: Bill Payne
Coloring: Martin Springett
Edited 1 time(s). Last edit at 2015-03-18 22:16 by schillid.
Re: Track Talk: Sympathy For The Devil
Posted by:
with sssoul
()
Date: March 18, 2015 20:26
Quote
schillidQuote
with sssoul
Troubadour ... killed ... bomb bay
That's so interesting, sssoul...
I was trying to find the old thread where we discussed this. I'll bet you know ...
Have you tried the three threads I linked to in my post about the Palomares incident?
The iorr links, I mean - in the second line or so of the post. There are probably more old threads about it,
but those floated to the top.
Re: Track Talk: Sympathy For The Devil
Posted by:
schillid
()
Date: March 18, 2015 20:46
Quote
with sssoul
Have you tried the three threads I linked to ...
I found the thread: I was thinking of :This thread.
Re: Track Talk: Sympathy For The Devil
Posted by:
latebloomer
()
Date: March 18, 2015 21:18
Very cool graphic novel depiction, schillid. It just goes to show how how much the song has become part of the cultural landscape.
Re: Track Talk: Sympathy For The Devil
Posted by:
with sssoul
()
Date: March 18, 2015 22:19
Ohhh thank you! Even as I was posting about the Palomares incident I vaguely recalled someone here
saying there was an aircraft called a Troubadour. But I still can't find anything anywhere
that says those planes that clari1977 was talking about were called that.
Re: Track Talk: Sympathy For The Devil
Posted by:
DandelionPowderman
()
Date: March 18, 2015 23:03
Quote
duke richardsonQuote
with sssoul
In the studio version there's a sound at the end of the solo as if Keith is slamming a door shut, or maybe the gates of hell.
That moment has fascinated me since the album came out and I always wait for it. What's making that sound?
that does have a dramatic, jarring effect.
I always thought it was a very fast slide down the neck..
it has a fierce finality about it..
It is a slide down the neck.
Re: Track Talk: Sympathy For The Devil
Posted by:
camper88
()
Date: March 19, 2015 00:04
.
Edited 1 time(s). Last edit at 2015-03-28 14:56 by camper88.
Edited 1 time(s). Last edit at 2015-03-28 14:56 by camper88.
Re: Track Talk: Sympathy For The Devil
Posted by:
with sssoul
()
Date: March 19, 2015 00:17
Are Indian musicians really called troubadours on any wide scale, though?
Re: Track Talk: Sympathy For The Devil
Posted by:
DandelionPowderman
()
Date: March 19, 2015 00:18
Quote
with sssoul
Are Indian musicians really called troubadours on any wide scale, though?
Only when they're troubadouring?
Re: Track Talk: Sympathy For The Devil
Posted by:
camper88
()
Date: March 19, 2015 01:02
.
Edited 4 time(s). Last edit at 2015-03-28 14:56 by camper88.
Edited 4 time(s). Last edit at 2015-03-28 14:56 by camper88.
Re: Track Talk: Sympathy For The Devil
Posted by:
EJM
()
Date: March 19, 2015 01:37
Just been to see Focus the movie - sympathy used to great effect in a gambling sequence
Re: Track Talk: Sympathy For The Devil
Posted by:
treaclefingers
()
Date: March 19, 2015 01:44
Quote
DandelionPowdermanQuote
with sssoul
Are Indian musicians really called troubadours on any wide scale, though?
Only when they're troubadouring?
Troubadour Tour 2015!
Re: Track Talk: Sympathy For The Devil
Posted by:
camper88
()
Date: March 19, 2015 01:45
.
Edited 1 time(s). Last edit at 2015-03-28 14:57 by camper88.
Edited 1 time(s). Last edit at 2015-03-28 14:57 by camper88.
Re: Track Talk: Sympathy For The Devil
Posted by:
camper88
()
Date: March 19, 2015 14:26
.
Edited 1 time(s). Last edit at 2015-03-28 14:57 by camper88.
Edited 1 time(s). Last edit at 2015-03-28 14:57 by camper88.
Re: Track Talk: Sympathy For The Devil
Posted by:
DandelionPowderman
()
Date: March 19, 2015 14:35
Quote
treaclefingersQuote
DandelionPowdermanQuote
with sssoul
Are Indian musicians really called troubadours on any wide scale, though?
Only when they're troubadouring?
Troubadour Tour 2015!
Sounds like a very short tour?
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