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DandelionPowderman
The Anita-incident influenced Mick and Keith's relationship even more than we think, I guess - hence they started writing less together, and had to rely on the song-bank (with nuggets from earlier years) for SF and Exile. Most of SF isn't even from the 70s.
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DandelionPowderman
The Anita-incident influenced Mick and Keith's relationship even more than we think, I guess - hence they started writing less together, and had to rely on the song-bank (with nuggets from earlier years) for SF and Exile. Most of SF isn't even from the 70s.
I have my doubts if these are the right conclusions... because it should not be forgotten that the legal battles with Klein after parting with ABKCO (and DECCA) and the setup of Rolling Stones Records effectively delayed further work on and finally the release of Sticky Fingers. Without this legal watershed I'm convinced that they would have finished and released Sticky in 1970, released a kind-of-an "Exile Part 1" in 1971 and "Exile Part 2" in 1972. But with this delay we received Sticky a year late, in 1971, plus a double-album's worth of material called "Exile" in 1972! Just because there was so much material in the can that they wanted to make use of it by getting it released - and the only way to manage that was a double-album...
IMHO it's more a proof of their tremendous creativity in those years than the opposite. And there's stuff on Metamorphosis from this time period that could have easily found its way on either Sticky or Exile - I Don't Know Why, Jiving Sister Fanny in case they would have worked on with ABKCO, of course.
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Socrates1
What if Steve Jordan produced the new Stones album? I still think Mick is clandestinely working on his own solo projection. He can't be outdone by Keith.
What about a new Mick record, then a new Stones record? I'd be happy with that. Mick could make a really good album right now, tapping into all that raw Cuban energy.
And why was he in Jack White's bowling alley, do we know? Seems funny to me. Oh, he just dropped by to do some bowling...
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KRiffhard
Oh no, not 'Goddess' again!
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DandelionPowderman
The Anita-incident influenced Mick and Keith's relationship even more than we think, I guess - hence they started writing less together, and had to rely on the song-bank (with nuggets from earlier years) for SF and Exile. Most of SF isn't even from the 70s.
I have my doubts if these are the right conclusions... because it should not be forgotten that the legal battles with Klein after parting with ABKCO (and DECCA) and the setup of Rolling Stones Records effectively delayed further work on and finally the release of Sticky Fingers. Without this legal watershed I'm convinced that they would have finished and released Sticky in 1970, released a kind-of-an "Exile Part 1" in 1971 and "Exile Part 2" in 1972. But with this delay we received Sticky a year late, in 1971, plus a double-album's worth of material called "Exile" in 1972! Just because there was so much material in the can that they wanted to make use of it by getting it released - and the only way to manage that was a double-album...
IMHO it's more a proof of their tremendous creativity in those years than the opposite. And there's stuff on Metamorphosis from this time period that could have easily found its way on either Sticky or Exile - I Don't Know Why, Jiving Sister Fanny in case they would have worked on with ABKCO, of course.
Very good points indeed, but I don't agree about the Metamorphosis stuff.
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35love
.02 cent view from a fan on the sidelines:
I've never thought the whole Anita slept w/Mick
to have been a big deal. Those were swinging,
crazy times, open minded heavy party times,
in fact my hazy memory says the whole tiny todger bit (and I hate this happened)
that Keith wrote about Mick in 'Life'
is a story of Anita coming back to Keith after having been w/Mick (Performance?)
and telling Keith: (paraphrase) oh baby you the big man.
Anita was slick. Easy female move.
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DandelionPowdermanQuote
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DandelionPowderman
The Anita-incident influenced Mick and Keith's relationship even more than we think, I guess - hence they started writing less together, and had to rely on the song-bank (with nuggets from earlier years) for SF and Exile. Most of SF isn't even from the 70s.
I have my doubts if these are the right conclusions... because it should not be forgotten that the legal battles with Klein after parting with ABKCO (and DECCA) and the setup of Rolling Stones Records effectively delayed further work on and finally the release of Sticky Fingers. Without this legal watershed I'm convinced that they would have finished and released Sticky in 1970, released a kind-of-an "Exile Part 1" in 1971 and "Exile Part 2" in 1972. But with this delay we received Sticky a year late, in 1971, plus a double-album's worth of material called "Exile" in 1972! Just because there was so much material in the can that they wanted to make use of it by getting it released - and the only way to manage that was a double-album...
IMHO it's more a proof of their tremendous creativity in those years than the opposite. And there's stuff on Metamorphosis from this time period that could have easily found its way on either Sticky or Exile - I Don't Know Why, Jiving Sister Fanny in case they would have worked on with ABKCO, of course.
Very good points indeed, but I don't agree about the Metamorphosis stuff.
Well, I guess that in the scenario I described Sticky and Exile would have turned out a bit different than the contents we actually grew up with. Exile in particular would not have been the, let's face it: "cleaning of the vaults" double album it actually is in large parts. Three single studio albums in 1970/1971/1972 would have looked different than Sticky and Exile as we know them, no doubt.
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35love
.02 cent view from a fan on the sidelines:
I've never thought the whole Anita slept w/Mick
to have been a big deal. Those were swinging,
crazy times, open minded heavy party times,
in fact my hazy memory says the whole tiny todger bit (and I hate this happened)
that Keith wrote about Mick in 'Life'
is a story of Anita coming back to Keith after having been w/Mick (Performance?)
and telling Keith: (paraphrase) oh baby you the big man.
Anita was slick. Easy female move.
With all due respect, that whole open minded phase was a gimmick. Keith couldnt fool himself (neither could Brian by the way), he was jealous and he sank into addiction. Like Brian. No secret.
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GasLightStreet
Black Limousine was started in 1973 at Musicland but was recorded again in 1977 for SOME GIRLS.
I know that, but not worked on at all in 1979?
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barbabang
HMS thinks DIRTY WORK is one of their greatest albums and is better than EXILE.
So where as Doxa may be stirring the pot, others are completely off their meds.
In the end, there are those that know and the rest that believe. Believers never know, they're too busy believing.
Well...Dirty Work is certentainly better than A Bigger Bang.
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HMS
In their "musical language" the Stones have everything already said and done what there is to be said and done... the Stones have nothing new to say, probably the main reason for not recording a new album for a decade. They have used up their vocabulary. Have a look on Keith´s Crosseyed Heart: It is a very good and solid album, but there is absolutely nothing on it what we haven´t heard already. If they announce a new album most people expect automatically a sensational masterpiece but those days are gone, because - like I said before - everything is already said and done.
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DandelionPowderman
The Anita-incident influenced Mick and Keith's relationship even more than we think, I guess - hence they started writing less together, and had to rely on the song-bank (with nuggets from earlier years) for SF and Exile. Most of SF isn't even from the 70s.
I have my doubts if these are the right conclusions... because it should not be forgotten that the legal battles with Klein after parting with ABKCO (and DECCA) and the setup of Rolling Stones Records effectively delayed further work on and finally the release of Sticky Fingers. Without this legal watershed I'm convinced that they would have finished and released Sticky in 1970, released a kind-of-an "Exile Part 1" in 1971 and "Exile Part 2" in 1972. But with this delay we received Sticky a year late, in 1971, plus a double-album's worth of material called "Exile" in 1972! Just because there was so much material in the can that they wanted to make use of it by getting it released - and the only way to manage that was a double-album...
IMHO it's more a proof of their tremendous creativity in those years than the opposite. And there's stuff on Metamorphosis from this time period that could have easily found its way on either Sticky or Exile - I Don't Know Why, Jiving Sister Fanny in case they would have worked on with ABKCO, of course.
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Doxa
Keith had brought "Wild Horses", written supposodly just before the tour, and Jagger "Brown Sugar", the song he had started writing in Australia during the summer. As we know, after the other "Twin" adding their contribution, both songs are among their most memorable recordings ever.
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Doxa
Keith had brought "Wild Horses", written supposodly just before the tour, and Jagger "Brown Sugar", the song he had started writing in Australia during the summer. As we know, after the other "Twin" adding their contribution, both songs are among their most memorable recordings ever.
Not being nitpickety Doxa (well maybe a little), can you or anyone else elaborate on this?
Other than Mick adding vocals and the rest of the band participating, Keith's demo version of Wild Horses sounds almost complete as far as being 'written'.
Did Mick write additional lyrics or something?
As for Brown Sugar, other than Keith's great guitar playing, not sure how much he himself contributed to the writing to consider it really a true 'collaboration'.
Seems to have been a full band effort to make the song as great as it eventually became. Did Keith write any lyrics to this? If not, what credit can he personally take for co-writing Brown Sugar?
Or did Mick continue to work on it with the help of Keith while in the studio with the rest of the Stones? I seem to recall Mick saying he had the riff from Australia, but that's about all I recall about the process.
Just wondering and speculating, I might have known some these details in the past - but the minutiae sometimes gets muddled over time.
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Gaslightstreet
From listening to it, it's difficult to tell if it's a demo or just a recording of it because Mick hadn't done any lyrics to it prior to the session for it so...
It could be a recording of him just playing it just for playing it.
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Hairball
Sounds like more than just "the riff and the chorus line" to quote Keith. Maybe he was just being humble and giving Mick more credit than he deserved?
Or...maybe Keith recorded this in a late night druggy haze in a hotel room somewhere after the Stones had already recorded it.
That might account for the primitiveness and the missing lyrics, etc.