For information about how to use this forum please check out forum help and policies.
Quote
Rockman
.........AfterMath UK is perfect as it is....YEP!!!
Quote
Silver Dagger
Take It Or Leave It is a deceptively fabulous piece of pop music writing with a nursery rhyme simplicity that belies the greatness of its melody.
Agreed, assuming that point was to include a long boring tune.Quote
with sssoul
I agree - a "short version" of Going Home would miss the whole point.
Quote
with sssoul
I agree - a "short version" of Going Home would miss the whole point.
I'm fine with both Aftermaths + Flowers exactly as they are.
The girl making eyes at all his so-called friends sounds like Anita to me.
She reappears on A Bigger Bang: What a cast of characters: her lovers = my friends
Quote
with sssoul
The girl making eyes at all his so-called friends sounds like Anita to me.
Quote
Doxa
Brian Jones - Koto, Harpsichord, Percussion, Triangle
A beautiful example of what Brian Jones was able to do to enrich a Jagger-Richard pop ballad. The whole idea of AFTERMATH in one song. The tension between those two forces - Mick and Keith's songcraft and Brian's multi-instumentality to serve the songs - has never been as fruitful as it is in AFTERMATH.
It needs to be noted that The Searchers released their version of "Take iT Or Leave It" as a single A-side before the Stones released AFTERMATH. So technically it isn't far from the early Jagger/Richard compositions they wrote for other artits to record (since they didn't fit to the style of the Stones). "Out of Time", a huge Chris Farlowe hit, is a similar case. The difference seemed to be that by then the whole style of the band had changed so much that 'pop songs' like fitted nicely to their repertuare. One important point of AFTERMATH was also that of showing that the band is artistically independent now - it was a showcase of Jagger/Richard writing skills - reaching. at least technically, the level of Lennon/MvcCartney. "Take it Or Leave It" fits very well to the picture.
Anyway, a nice little pop number fitting so well to the atmosphere of AFTERMATH (especially that of side two, belonging to the better half of the songs there). Not probably meant for a repeated listenings since that 'oh la la la la.." part starts to sound a bit irrating after a while... But it sounds so fresh, young, naive, vital like there were at the time. Who can resist that?
- Doxa
Quote
DandelionPowdermanQuote
Doxa
Brian Jones - Koto, Harpsichord, Percussion, Triangle
A beautiful example of what Brian Jones was able to do to enrich a Jagger-Richard pop ballad. The whole idea of AFTERMATH in one song. The tension between those two forces - Mick and Keith's songcraft and Brian's multi-instumentality to serve the songs - has never been as fruitful as it is in AFTERMATH.
It needs to be noted that The Searchers released their version of "Take iT Or Leave It" as a single A-side before the Stones released AFTERMATH. So technically it isn't far from the early Jagger/Richard compositions they wrote for other artits to record (since they didn't fit to the style of the Stones). "Out of Time", a huge Chris Farlowe hit, is a similar case. The difference seemed to be that by then the whole style of the band had changed so much that 'pop songs' like fitted nicely to their repertuare. One important point of AFTERMATH was also that of showing that the band is artistically independent now - it was a showcase of Jagger/Richard writing skills - reaching. at least technically, the level of Lennon/MvcCartney. "Take it Or Leave It" fits very well to the picture.
Anyway, a nice little pop number fitting so well to the atmosphere of AFTERMATH (especially that of side two, belonging to the better half of the songs there). Not probably meant for a repeated listenings since that 'oh la la la la.." part starts to sound a bit irrating after a while... But it sounds so fresh, young, naive, vital like there were at the time. Who can resist that?
- Doxa
What about TSMR?
2000 LYFH, G, C, TL
And RT and other songs on BTB?
I can't separate the quality of his input on these albums. If anything, he still played a mean guitar on Aftermath
What a musician he was!
Quote
DoxaQuote
DandelionPowdermanQuote
Doxa
Brian Jones - Koto, Harpsichord, Percussion, Triangle
A beautiful example of what Brian Jones was able to do to enrich a Jagger-Richard pop ballad. The whole idea of AFTERMATH in one song. The tension between those two forces - Mick and Keith's songcraft and Brian's multi-instumentality to serve the songs - has never been as fruitful as it is in AFTERMATH.
It needs to be noted that The Searchers released their version of "Take iT Or Leave It" as a single A-side before the Stones released AFTERMATH. So technically it isn't far from the early Jagger/Richard compositions they wrote for other artits to record (since they didn't fit to the style of the Stones). "Out of Time", a huge Chris Farlowe hit, is a similar case. The difference seemed to be that by then the whole style of the band had changed so much that 'pop songs' like fitted nicely to their repertuare. One important point of AFTERMATH was also that of showing that the band is artistically independent now - it was a showcase of Jagger/Richard writing skills - reaching. at least technically, the level of Lennon/MvcCartney. "Take it Or Leave It" fits very well to the picture.
Anyway, a nice little pop number fitting so well to the atmosphere of AFTERMATH (especially that of side two, belonging to the better half of the songs there). Not probably meant for a repeated listenings since that 'oh la la la la.." part starts to sound a bit irrating after a while... But it sounds so fresh, young, naive, vital like there were at the time. Who can resist that?
- Doxa
What about TSMR?
2000 LYFH, G, C, TL
And RT and other songs on BTB?
I can't separate the quality of his input on these albums. If anything, he still played a mean guitar on Aftermath
What a musician he was!
I was talking about tension between those two (Jagger/Richard songs and Brian's multi-instrumentalism). In AFTERMATH one can so clearly hear those two elements distinguished from each other, but still serving mutual purpose. By SATANIC MAJESTIES Jagger/Richard songs had shaped into some kind of experiments per se, and even though Brian does the icing, once again, beautifully, the dynamics had changed by then. To me ears it sounds that around the time of AFTERMATH very inspired and focused Brian was putting all his energy to make a room for himself in the realm of Jagger/Richard songs, but by the time of SATANIC MAJESTIES he was not that interested and focused any longer. Still making some of the teh most memorable instrumental contributions the album has. Probably he was actually the most gifted person to do an experminetal psychedelic album, even though he personally wasn't too keen on that... Besides, thinking that SATANIC MAJESTIES would be the album his and Twin's colloboration is shining most, would be a it unfair to the legacy of Brian...
I think what really makes AFTERMATH exceptional is that how quickly it was done. No days, or even hours were wasted, to make the songs complete. And still Brian was able to come up with a league of 'exotic' instruments, and make memorable contributions.
Yeah, what a musician he was!
(Damn, I miss His Majesty and his contributions...)
- Doxa
Quote
DandelionPowderman
For me, his mellotron playing on 2000 LYFH and his dulcimer on Gomper creates both tension and shows his versatility as a unique musician. Both songs really needed that. And if you think it over, both those songs could have been bluesy/folky acoustic guitar numbers. Then, think about what Brian added.
Quote
Doxa
(add there "Paint It Black, if one prefers UK version)
Quote
marcovandereijkQuote
Doxa
(add there "Paint It Black, if one prefers UK version)
Correction: The US-edition has Paint it Black.