<<Love GH, btw. Couldn't have been omitted, imo. Too important for the album.>>

They could have included Fence and Ride On if they'd only kept to the short version of Goin' Home. The full length version would have made a great bootleg curio.

To me it sounds the same as you cut Midnight Rambler in two.........AfterMath UK is perfect as it is....

__________________________

.........AfterMath UK is perfect as it is....YEP!!!



ROCKMAN

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

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Rockman
.........AfterMath UK is perfect as it is....YEP!!!

Which one?

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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.

I'll go along with that, I really like this track!

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with sssoul
I agree - a "short version" of Going Home would miss the whole point.

Agreed, assuming that point was to include a long boring tune.

Ohhh Leonid - two and a half minutes just isn't enough for some things in this life, you know?
The Rolling Stones certainly knew! :E

In the years before the CDs I used to play side 2 of Aftermath before I played side 1,
so I could end the experience with the Going Home jam. The introduction of the CD,
and my mistake to throw away my trusty old pick up, ruined this. Now the album loses
a bit of momentum with Going Home in the middle.
I takes a lot of "boogie with Stu" at the opening of Flight 505 to get me tapping my
feet and clapping my hands again.

Just as long as the guitar plays, let it steal your heart away

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

Well...the theme may be more an indication of a recurring issue that Keith has with his women, rather than anything Anita-related. More to the point, Keith was with Linda Keith in December 1965 when the song was penned.

Quote
with sssoul
The girl making eyes at all his so-called friends sounds like Anita to me.

Would make sense if Brian was responsible for writing this sentence?
It was still a couple of years before the Maroccan journey was taking place?

Just as long as the guitar plays, let it steal your heart away

Yes, swiss, but as I noted this number has always sounded very Brian-esque to me.

Marco, in my imagination the line could have been uttered by Brian and recycled as a line in a song - "Brian-inspired" as it were -
or contributed by Brian in an uncredited collaboration. The "take my life or leave it" bit too. And the music.
What I mean to say is: Whenever anyone brings up the theory that Brian co-wrote songs he wasn't credited for,
this one (in my purely speculative opinion) is the main suspect



Edited 2 time(s). Last edit at 2015-03-31 15:43 by with sssoul.

Speculation about the proces of songwriting by the Stones will keep historians busy
for the next ages, I guess.
It seems likely that around 1965 Brian had a lot of influence, if not writing lyrics,
than at least with adding flavour by his choice of instruments.

Just as long as the guitar plays, let it steal your heart away

What's not to hate about this 'song'....

Classic

That's an interesting one, though I don't rate it high up on my favorites list amongst the 1965-1966 era Jagger-Richards songs.

The song seems to be built up around the 'Take or Leave it' chorus section. Other than that there's not much to it.



Edited 1 time(s). Last edit at 2015-03-31 22:12 by nightskyman.

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



Edited 2 time(s). Last edit at 2015-04-07 15:49 by Doxa.

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

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
DandelionPowderman

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

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 fruitful tension between those two forces (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



Edited 1 time(s). Last edit at 2015-04-07 16:44 by Doxa.

Quote
Doxa

Quote
DandelionPowderman

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

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

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.

Brian, the Musician in the band...

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.

I am not belittlening Brian's contributions in THEIR SATANIC MAJESTIES at all. Those you mentioned are shining stars. But when I think of albums as a whole, I think Brian's most fruitful period dealing with Jagger/Richard songs is AFTERMATH. He just sounds so eager and willing, so fresh all around the album (add there "Paint It Black, if one prefers UK version), and he is one of the main reasons why that album is still today so eternally fresh-sounding and vital. He makes so much of the musical landscape the album has.

- Doxa



Edited 2 time(s). Last edit at 2015-04-07 17:05 by Doxa.

Quote
Doxa
(add there "Paint It Black, if one prefers UK version)

Correction: The US-edition has Paint it Black.

That aside, Brian's contributions are more eye catching on these albums, because he started
playing these various instruments. His contributions on the earlier albums are not to
be omitted, though they were more limited to harmonica and guitar playing. A song like
Mona (I need you baby) would not be the same without Brian and the same can be said for
hits like Little Red Rooster and The Last Time.

Just as long as the guitar plays, let it steal your heart away

Quote
marcovandereijk

Quote
Doxa
(add there "Paint It Black, if one prefers UK version)

Correction: The US-edition has Paint it Black.

Yeah. That was I actually tried to say, but was vague I guess: if one thinks the album in terms of UK editions, like I guess both Dandie and I do, then one needs to add there "Paint Black" as a single release...

So, US version of AFTERMATH does not have "Take It Or Leave It"? Hard for me to think that album without that one... But then again, Americans hear there a FLOWERS track...

- Doxa