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theBlockbuster
It's a very overrated album, which I rarely listen to. However I still think it's a decent document of the time and it has the best album cover of any Stones record.
Jumping Jack Flash: 8/10
Carol: 5/10
Stray Cat Blues: 7/10
Love In Vain: 5/10
Midnight Rambler: 7/10
Sympathy For The Devil: 6/10
Live With Me: 8/10
Little Queenie: 6/10
Honky Tonk Women: 5/10
Street Fighting Man: 5/10
Prodigal Son: 7/10
You Gotta Move: 6/10
Under My Thumb: 4/10
I'm Free: 6/10
(I Can't Get No) Satisfaction: 4/10
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Doxa
Still recall the impression this album made when I heard it back in 1982 as a teenegar boy. GOT LIVE IF WANT IT! was my first Stones live record, and I am not sure if STILL LIFE was already released or not. Anyway, YA-YA'S! sounded simply magnificient, so dark and straight to the point, incredibly professional, so damn focused, so tight, so cool and blues, like some hidden rage was established as music. There was something so powerful, never heard the Stones or any other other band sounding like that... like a totally new world, a new chapter in rock and roll, opened to me. By the terms of 1982, it sounded incredibly relevant, like a flash of some internal rock music heaven, the guys talking in a language anyone understanding something of the rock music would understand. I mean, I loved the sheer energy and attitude of GOT LIVE! and STILL LIFE was a funny, sloppy recording, old legends playing with experience and arrogance of 'elder statemens' or rock', but YA-YA'S! was something different: a serious business; just a statement of the music itself, the guys seemigly in the height of their powers, with no any excuse. (I get to know LOVE YOU LIVE afterwards, but it was huge disappointment after YA-YA'S! - like some sloppy, lazy, degenerated version of the band of YA-Ya'S).
Within my half year or in deep studies of the Rolling Stones music by then I knew all the songs already, "Flash", "Honky Tonk" and BEGGARS BANQUET and LET IT BLEED very familiar to me. But it was this interpretation of that stuff which totally made me convinced of the strenght of that 1968/69 material. Especially the version of "Jumping Jack Flash" made me realize why this particular riff might be the strongest one ever made. I deeply liked the original studio version, but it was however this version which made me appreciate the deep core genious of the song, one of the strongest ever in a rock and roll song. Even though I had STICKY FINGERS and EXILE by then, it was through this record I came to familar with Mick Taylor, and that he had a huge say why the band started to call themselves 'the greatest rock and roll band in the world' with some real justification, even though as the world's biggest Keith Richards fan at the time, it was somehow painful for me to realize that the most noteworthy guitar contributions in that record did not come from him (it was later when I really started to apperiacate Keith's idiosyncratic strenghts as a guitarist by terms ot its own, and they not meeting the standards of 'normal' criteria to evaluate guitar playing). Taylor sounded almost too good ("Love In vain", "Stray Cat Blues"...) for the Stones as I saw the band at the time...
Okay, that was some personal history. That was then and now is now. I must admit that since getting familiar with bootleg material from that era and all that, YA-YA'S! didn't sound so unique masterpiece any longer. Today, when we are almost loaded with official live material from those days, the significance of the album is not really so huge, and I quite rarely listen to it any longer. Like is with any good old concept live albums - you know, when live albums really were musical statements and not just documents of shows. But, of course, still today I would rank it easily their best live album ever (I really don't count these bootleg series, etc. stuff as serious live albums - the old live album concept is dead).
Outside my own pespective, the historical significance of GET YER YA-YA'S! cannot be underestimated. It introduced their new sound to millions of people all around the world who couldn't have a chance to see them actually live. It gave them tremendous credibility as a live band. In many sense it is as important album as any of the Big Four establishing their strongest, and lasting legacy. We should actually speak of Big Five, including it. Among other things, STICKY FINGERS didn't sound so surprisingly different in compared to LET IT BLEED, since YA-YA'S has introduced the new, hard rocking sound of the band to the world. YA-YA'S! marks an important phase and landmark in the development of the band in the height of their powers, during their most creative period.
- Doxa
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35love
SFTD: I have never picked up a guitar in my life, but my fingers know every tweak on this solo. A subtle but correct air guitar I can play on this one, it's engraved.
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Cristiano Radtke
I know there's a lot of fans who think that Mick Taylor's best solo on Love in Vain is the one from Texas 1972, but imho his solo on Get Yer Ya-Ya's Out! is awesome, and one of his best ever recorded performances with the Stones.
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Hairball
While they're all standout tracks, I should qualify that by saying I'm probably in the minority in thinking the Chuck Berry covers aren't the greatest.
A bit slow and sludgy, and although Keith's riffs are essential, hard to top the Chuck originals imo.
With that said, they're party of the overall vibe and what makes the album great, therefore they are standouts.
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Tops
I don't really get what¨s so great about the GYYO version of SFTD. I don't get it. Boring.
I very much prefer the LYL-version The RnR-circus version and the one from Hyde Park in 69.
Little Queenie 10/10 ???????
But great versions of Stray Cat Blues and Midnight Rambler.
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Tops
I don't really get what¨s so great about the GYYO version of SFTD. I don't get it. Boring.
I very much prefer the LYL-version The RnR-circus version and the one from Hyde Park in 69.
The great thing about SFTD is the two solos. How completely different they are but somehow complement each other. Both great in their own - very different ways.
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Hairball
While they're all standout tracks, I should qualify that by saying I'm probably in the minority in thinking the Chuck Berry covers aren't the greatest.
A bit slow and sludgy, and although Keith's riffs are essential, hard to top the Chuck originals imo.
With that said, they're party of the overall vibe and what makes the album great, therefore they are standouts.
I love those Chuck Berry tracks, especially Little Queenie. I think the slowing down of it, and the heavy riffing each time after Mick sings: "Meanwhile, I was stiiiiiil thinking", all add to make it sound very dirty.
Whereas the original Chuck Berry version is naughty: a man excited by looking at a pretty girl, the Stones turn it into a very dark, horny, dirty, almost pornographic thing. "Meanwhile, I was thinking..." and you almost hesitate to imagine what he's thinking about.
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theBlockbuster
It's a very overrated album, which I rarely listen to. However I still think it's a decent document of the time and it has the best album cover of any Stones record.
Jumping Jack Flash: 8/10
Carol: 5/10
Stray Cat Blues: 7/10
Love In Vain: 5/10
Midnight Rambler: 7/10
Sympathy For The Devil: 6/10
Live With Me: 8/10
Little Queenie: 6/10
Honky Tonk Women: 5/10
Street Fighting Man: 5/10
Prodigal Son: 7/10
You Gotta Move: 6/10
Under My Thumb: 4/10
I'm Free: 6/10
(I Can't Get No) Satisfaction: 4/10
+1
With Exception of Stray Cat Blues 9/10, Midnight Rambler 9/10 and Satisfaction 9/10
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theBlockbuster
It's a very overrated album, which I rarely listen to. However I still think it's a decent document of the time and it has the best album cover of any Stones record.
Jumping Jack Flash: 8/10
Carol: 5/10
Stray Cat Blues: 7/10
Love In Vain: 5/10
Midnight Rambler: 7/10
Sympathy For The Devil: 6/10
Live With Me: 8/10
Little Queenie: 6/10
Honky Tonk Women: 5/10
Street Fighting Man: 5/10
Prodigal Son: 7/10
You Gotta Move: 6/10
Under My Thumb: 4/10
I'm Free: 6/10
(I Can't Get No) Satisfaction: 4/10
+1
With Exception of Stray Cat Blues 9/10, Midnight Rambler 9/10 and Satisfaction 9/10
Every review that rates Love In Vain and Sympathy from YaYas as "5/10" and "6/10", not to speak of others (Midnight Rambler: "6/10" - bah!) qualifies as nothing more than pure rubbish and shows little love and understanding for Stones music. Sorry if I sound harsh, but such ridiculousness can hardly be topped.
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theBlockbuster
It's a very overrated album, which I rarely listen to. However I still think it's a decent document of the time and it has the best album cover of any Stones record.
Jumping Jack Flash: 8/10
Carol: 5/10
Stray Cat Blues: 7/10
Love In Vain: 5/10
Midnight Rambler: 7/10
Sympathy For The Devil: 6/10
Live With Me: 8/10
Little Queenie: 6/10
Honky Tonk Women: 5/10
Street Fighting Man: 5/10
Prodigal Son: 7/10
You Gotta Move: 6/10
Under My Thumb: 4/10
I'm Free: 6/10
(I Can't Get No) Satisfaction: 4/10
+1
With Exception of Stray Cat Blues 9/10, Midnight Rambler 9/10 and Satisfaction 9/10
Every review that rates Love In Vain and Sympathy from YaYas as "5/10" and "6/10", not to speak of others (Midnight Rambler: "6/10" - bah!) qualifies as nothing more than pure rubbish and shows little love and understanding for Stones music. Sorry if I sound harsh, but such ridiculousness can hardly be topped.
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DandelionPowderman
One cannot give LIV 9/10 when there are other superior versions out there (The studio version, Leeds 71, Texas 72, Texas 78 etc.).
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Hairball
While they're all standout tracks, I should qualify that by saying I'm probably in the minority in thinking the Chuck Berry covers aren't the greatest.
A bit slow and sludgy, and although Keith's riffs are essential, hard to top the Chuck originals imo.
With that said, they're party of the overall vibe and what makes the album great, therefore they are standouts.
I love those Chuck Berry tracks, especially Little Queenie. I think the slowing down of it, and the heavy riffing each time after Mick sings: "Meanwhile, I was stiiiiiil thinking", all add to make it sound very dirty.
Whereas the original Chuck Berry version is naughty: a man excited by looking at a pretty girl, the Stones turn it into a very dark, horny, dirty, almost pornographic thing. "Meanwhile, I was thinking..." and you almost hesitate to imagine what he's thinking about.
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Hairball
While they're all standout tracks, I should qualify that by saying I'm probably in the minority in thinking the Chuck Berry covers aren't the greatest.
A bit slow and sludgy, and although Keith's riffs are essential, hard to top the Chuck originals imo.
With that said, they're party of the overall vibe and what makes the album great, therefore they are standouts.
I love those Chuck Berry tracks, especially Little Queenie. I think the slowing down of it, and the heavy riffing each time after Mick sings: "Meanwhile, I was stiiiiiil thinking", all add to make it sound very dirty.
Whereas the original Chuck Berry version is naughty: a man excited by looking at a pretty girl, the Stones turn it into a very dark, horny, dirty, almost pornographic thing. "Meanwhile, I was thinking..." and you almost hesitate to imagine what he's thinking about.
The Stones doing Chuck Berry songs... Chuck Berry's versions are bettered by the Stones. I've yet to hear a Chuck song be as good as the way the Stones did it. It's strange to say that but I think the Stones are better at Chuck Berry than Chuck Berry is!
Keith is way more detailed in the playing where as Chuck, he's just thinkin' about the money and bum notes be damned. Listen to his Around And Around and then the Stones... there's some awful notes in Chuck's version. The Stones? They make that song burn with fire.
The two Chuck Berry songs on GYYYO are supreme - yeah, they are slower; they're mean. They are deliberately heavy. Because it sounds fantastic.
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DandelionPowderman
One cannot give LIV 9/10 when there are other superior versions out there (The studio version, Leeds 71, Texas 72, Texas 78 etc.).
That statement is logically incorrect
It it possible for there to be 10 or even 100 10/10 versions of a song if it is consistently played at the highest possible quality.
The performance on YaYas is flawless. Not saying it is the best, but that's different.