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Swayed1967

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DandelionPowderman


LOL! Didn't I just get a possee after me for saying that SFM on Ya Yas was weaker than the other tracks?

Yeah I know – I’m the one who reported you to Sheriff Hank. There is a picture of you being circulated with a caption that claims you’re a ‘piece of crap loser.’ I advise you to lie low for the time being and eschew any form of critical thinking. Please remember that we only visit this forum to give each other massages until it’s time to go to the concert.

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rollmops
The musical arrangments on some of the songs like "sad.. " "..Hard Place" are pretty complex, with layers of guitar playing different themes,not on the beat, kind of complexe weaving. I believe that the stones in 1989 were musically/technically at a pick. Now the result "Steel Wheels" aimed at a very broad audience which did annoy us the fanatics. But we have to give these Caesars what belonged to them at the time; they were great and very sharp musicians.
Rockandroll,
Mops

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keefriff99

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rollmops
The musical arrangments on some of the songs like "sad.. " "..Hard Place" are pretty complex, with layers of guitar playing different themes,not on the beat, kind of complexe weaving. I believe that the stones in 1989 were musically/technically at a pick. Now the result "Steel Wheels" aimed at a very broad audience which did annoy us the fanatics. But we have to give these Caesars what belonged to them at the time; they were great and very sharp musicians.
Rockandroll,
Mops

They were definitely very tight and sharp instrumentally at that point. Creatively? That can be debated.

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retired_dog

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keefriff99

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rollmops
The musical arrangments on some of the songs like "sad.. " "..Hard Place" are pretty complex, with layers of guitar playing different themes,not on the beat, kind of complexe weaving. I believe that the stones in 1989 were musically/technically at a pick. Now the result "Steel Wheels" aimed at a very broad audience which did annoy us the fanatics. But we have to give these Caesars what belonged to them at the time; they were great and very sharp musicians.
Rockandroll,
Mops

They were definitely very tight and sharp instrumentally at that point. Creatively? That can be debated.

Just because one doesn't like the results doesn't mean something is not creative. Is Back To Zero (in a Stones context) more creative than Had It With You? Probably, but I still like the latter better.

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treaclefingers

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ryanpow
I think songs like One Hit, Too Rude, Sleep Tonight are more authentic , more "organic" if you will than anything on SW. On the other hand a song like Winning Ugly is perhaps the worst thing they've ever recorded.

there's always Hold Back (DOn't Hold Back) or whatever the hell it's called...that has to be worse...and let's not forget the aptly titled Back to Zero. That has to be their absolute trough. Chuck can be proud to be co-author, his only writing credit with the stones, for that heap of garbage.

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GasLightStreet
Sad Sad Sad is Brown Sugar inverted. Kind of.

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GasLightStreet

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Swayed1967
Unfortunately, since the early 80s they have released a string of mediocre records, Steel Wheels being but one of them, that will have future generations wondering how a band that once rivaled the Beatles eventually ended up with more bad songs than good. (A primer on how to understand the previous sentence: 1. Listen to their output from 1967-1982. 2. Choose any song from 83 onward and compare it to the 67-82 period. 3. When you inevitably reach the gutless conclusion that while the newer material may not reach the majestic heights of the classic period it’s still pretty good, smack yourself in the face. It is not pretty good – it is a descent into mediocrity that is unworthy of rock deities.)

Obviously I expect you and people such as the Dandelion - who with 39,000+ posts of Stones worshiping is too heavily invested to face reality - to reject such a notion. It’s a hard pill even for me to swallow.

I'll reject it just a tad - I wouldn't include UNDERCOVER, partially because you listed 1982 when there wasn't an album in 1982 and U is the true follow up to EMOTIONAL RESCUE and polishes off that era quite well, with REWIND being the icing of that 1978-1983 cake.

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stonehearted

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GasLightStreet
Sad Sad Sad is Brown Sugar inverted. Kind of.

I thought Rough Justice was the Brown Sugar inversion, or at least a clever variation.

One thing about Sad, Sad, Sad -- the vocal riff is very, very, very catchy, more so than anything on their previous album and as well as a good many tracks on their subsequent albums. Without doubt, SSS is the most solid lead-off track of any of their post-Tattoo You efforts -- with the exception of Undercover.

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stonehearted

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GasLightStreet

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Swayed1967
Unfortunately, since the early 80s they have released a string of mediocre records, Steel Wheels being but one of them, that will have future generations wondering how a band that once rivaled the Beatles eventually ended up with more bad songs than good. (A primer on how to understand the previous sentence: 1. Listen to their output from 1967-1982. 2. Choose any song from 83 onward and compare it to the 67-82 period. 3. When you inevitably reach the gutless conclusion that while the newer material may not reach the majestic heights of the classic period it’s still pretty good, smack yourself in the face. It is not pretty good – it is a descent into mediocrity that is unworthy of rock deities.)

Obviously I expect you and people such as the Dandelion - who with 39,000+ posts of Stones worshiping is too heavily invested to face reality - to reject such a notion. It’s a hard pill even for me to swallow.

I'll reject it just a tad - I wouldn't include UNDERCOVER, partially because you listed 1982 when there wasn't an album in 1982 and U is the true follow up to EMOTIONAL RESCUE and polishes off that era quite well, with REWIND being the icing of that 1978-1983 cake.

There was, actually.

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Palace Revolution 2000

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stonehearted

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GasLightStreet
Sad Sad Sad is Brown Sugar inverted. Kind of.

I thought Rough Justice was the Brown Sugar inversion, or at least a clever variation.

One thing about Sad, Sad, Sad -- the vocal riff is very, very, very catchy, more so than anything on their previous album and as well as a good many tracks on their subsequent albums. Without doubt, SSS is the most solid lead-off track of any of their post-Tattoo You efforts -- with the exception of Undercover.

I would say that you hardly can beat "Flip the Switch" as opener; even "Rough Justice" is pretty strong. IMO SSS is very generic; I like the production more than the song. I think some of us think "Mixed Emotions" would be the obvious opener. But I understand that this was the big come back, and they probably felt a lot of pressure; to deliver big and loud right out of the gates. By the time of Voodoo they had relaxed a bit. "Love is Strong" was a wise opener; it fits right in with "Not Fade away" as the tour opener.

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Palace Revolution 2000
I would say that you hardly can beat "Flip the Switch" as opener; even "Rough Justice" is pretty strong..

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stonehearted

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Palace Revolution 2000
I would say that you hardly can beat "Flip the Switch" as opener; even "Rough Justice" is pretty strong..

Well, sure, Flip the Switch is a great opener for an album. Keith was bragging at the time in rock mag interviews that, tempo-wise, it was their fastest studio performance on record...

...but does it have a hook that you can remember?

My point was, everyone remembers the melody of SSS, the hook -- just that one word, repeated three times, so catchy. No matter what you think of Steel Wheels, you do remember that, right?

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stonehearted

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Palace Revolution 2000
I would say that you hardly can beat "Flip the Switch" as opener; even "Rough Justice" is pretty strong..

Well, sure, Flip the Switch is a great opener for an album. Keith was bragging at the time in rock mag interviews that, tempo-wise, it was their fastest studio performance on record...

...but does it have a hook that you can remember?

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stonehearted

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GasLightStreet
Sad Sad Sad is Brown Sugar inverted. Kind of.

I thought Rough Justice was the Brown Sugar inversion, or at least a clever variation.

One thing about Sad, Sad, Sad -- the vocal riff is very, very, very catchy, more so than anything on their previous album and as well as a good many tracks on their subsequent albums. Without doubt, SSS is the most solid lead-off track of any of their post-Tattoo You efforts -- with the exception of Undercover.

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24FPS

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stonehearted

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GasLightStreet
Sad Sad Sad is Brown Sugar inverted. Kind of.

I thought Rough Justice was the Brown Sugar inversion, or at least a clever variation.

One thing about Sad, Sad, Sad -- the vocal riff is very, very, very catchy, more so than anything on their previous album and as well as a good many tracks on their subsequent albums. Without doubt, SSS is the most solid lead-off track of any of their post-Tattoo You efforts -- with the exception of Undercover.

SSS is a Sad, Sad, Sad b-side at best. Better than One Hit to the Body? Sure. Love Is Strong? Uh-huh. (Flip the Switch is interchangeable as crap with SSS) Sad Sad Sad is better than Rough Justice? That is the Sad Sad Saddest thing I have read in a long time. And of course, Just Your Fool. Sigh.

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GasLightStreet

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stonehearted

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Palace Revolution 2000
I would say that you hardly can beat "Flip the Switch" as opener; even "Rough Justice" is pretty strong..

Well, sure, Flip the Switch is a great opener for an album. Keith was bragging at the time in rock mag interviews that, tempo-wise, it was their fastest studio performance on record...

...but does it have a hook that you can remember?

How could anyone NOT remember that hook? It's one of the best raunchiest hooks they've ever had.

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GasLightStreet
Sad Sad Sad is Stones-by-numbers - or even Stones-in-their-sleep - but it's decent.

Flip The Switch is not anything of that matter and it's one of Keith's last great explorations of the guitar with the open E string chime, which with Flip is more of a glass grinding.

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keefriff99

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GasLightStreet
Sad Sad Sad is Stones-by-numbers - or even Stones-in-their-sleep - but it's decent.

Flip The Switch is not anything of that matter and it's one of Keith's last great explorations of the guitar with the open E string chime, which with Flip is more of a glass grinding.

Very true...it's not evident at first, but I love the exotic, Middle Eastern vibe that the song evokes, and live he went even further in terms of mixing it with some killer lead fills.

[www.youtube.com]

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GasLightStreet

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Palace Revolution 2000

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stonehearted

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GasLightStreet
Sad Sad Sad is Brown Sugar inverted. Kind of.

I thought Rough Justice was the Brown Sugar inversion, or at least a clever variation.

One thing about Sad, Sad, Sad -- the vocal riff is very, very, very catchy, more so than anything on their previous album and as well as a good many tracks on their subsequent albums. Without doubt, SSS is the most solid lead-off track of any of their post-Tattoo You efforts -- with the exception of Undercover.

I would say that you hardly can beat "Flip the Switch" as opener; even "Rough Justice" is pretty strong. IMO SSS is very generic; I like the production more than the song. I think some of us think "Mixed Emotions" would be the obvious opener. But I understand that this was the big come back, and they probably felt a lot of pressure; to deliver big and loud right out of the gates. By the time of Voodoo they had relaxed a bit. "Love is Strong" was a wise opener; it fits right in with "Not Fade away" as the tour opener.

When I first played STEEL WHEELS and heard that clang clang! Clang clang! I thought "Ahhhh, here we go". Alright so SW didn't suss out as expected. Flip The Switch is possibly more interesting - has a better sound to it overall - and that album fails to hold up to that song. Love Is Strong is nice but it's so... it's like gooey peanut butter. Rough Justice is a nice opener.