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retired_dog

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DandelionPowderman

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DandelionPowderman
Memo From Turner is full stop.

A cool intro, then it goes nowhere, imo. The bridge... well, I won't go there

Really? I always found the MFT version with Ry Cooder on slide about the best songs that came out of Jagger's mouth. Excellent drums, guitar, bass and vocals.

Too soft, and the band is untight. Cooder is good, though. The songwriting isn't my cup of tea. I like the Stones's rehearsals like version better, but the song isn't really exciting anymore after the first few seconds, for me.

The mix is bad as well.

Feels like Dandie is channeling Keith's antipathy towards the song...

If there is any adjective to describe "Memo From Turner", 'soft' wouldn't be the one to come to my mind...

- Doxa

Pretty good observation, Doxa...

"Soft"...are we talking about Chicago's "If You Leave Me Now" or what?

It pretends to rock, but doesn't-kind of soft..

Like I said, I like the Stones-version better, hence NOT a good observation

Do you really think the band sounds great on MFT?



Edited 1 time(s). Last edit at 2017-07-04 16:02 by DandelionPowderman.

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DandelionPowderman

It pretends to rock, but doesn't-kind of soft..

Like I said, I like the Stones-version better, hence NOT a good observation

Do you really think the band sounds great on MFT?

The band is not really tight, you're right, and the line with "the one we all called Kurt" is a bit out of synch, but the lyrics are cool, and it has a vibe that I'd wish the Stones had explored more. It's a bit more experimental and rather refreshing (although that's a weird word to use for a song that's actually kind of menacing).
I don't think it's meant to be "rock" by the way, more "avant-garde".



Edited 1 time(s). Last edit at 2017-07-04 16:32 by matxil.

Finally!

60 pages in and perhaps the thread has revealed its true purpose:

The hitherto acclaimed "Memo From Turner," Mick Jagger's first solo single, actually sucks ... and it was all downhill from there!

You gotta wonder why we couldn't have taken care of that on page 1.

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LongBeachArena72
Finally!

60 pages in and perhaps the thread has revealed its true purpose:

The hitherto acclaimed "Memo From Turner," Mick Jagger's first solo single, actually sucks ... and it was all downhill from there!

You gotta wonder why we couldn't have taken care of that on page 1.

Are you kidding? And miss out on all the fun? Imagine Tolstoy would have said that when he wrote War and Peace! (Sooner or later, all conversations end up about Tolstoy.)

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LongBeachArena72
Finally!

60 pages in and perhaps the thread has revealed its true purpose:

The hitherto acclaimed "Memo From Turner," Mick Jagger's first solo single, actually sucks ... and it was all downhill from there!

You gotta wonder why we couldn't have taken care of that on page 1.

FREE MICK !!

All kidding aside it's been great, I learned a lot from these 60 pages and I'm not kidding. I came in thinking Mick solo was shit, now it's official, Mick solo really is shit. Although I happen to like MFT and a whole lot more other songs from Mick. What I'm saying is all these years later Mick's solo efforts aren't so bad after all, much better than i remember imho.

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retired_dog

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Memo From Turner is full stop.

A cool intro, then it goes nowhere, imo. The bridge... well, I won't go there

Really? I always found the MFT version with Ry Cooder on slide about the best songs that came out of Jagger's mouth. Excellent drums, guitar, bass and vocals.

Too soft, and the band is untight. Cooder is good, though. The songwriting isn't my cup of tea. I like the Stones's rehearsals like version better, but the song isn't really exciting anymore after the first few seconds, for me.

The mix is bad as well.

Feels like Dandie is channeling Keith's antipathy towards the song...

If there is any adjective to describe "Memo From Turner", 'soft' wouldn't be the one to come to my mind...

- Doxa

Pretty good observation, Doxa...

"Soft"...are we talking about Chicago's "If You Leave Me Now" or what?

It pretends to rock, but doesn't-kind of soft..

Like I said, I like the Stones-version better, hence NOT a good observation

Do you really think the band sounds great on MFT?

Well, in my ears it does not "pretend to rock" (whatever that is, really...), instead it's funky, brooding, cooking and fits/supports Mick's aggressive/arrogant vocal performance perfectly. The Stones demo, well, it sounds like a demo, tentative, not quite there yet. Just nice, but nothing special, whereas the final soundtrack version is a classic in my ears.

I came across this clip of Mick awhile ago of Mick Being Interviewed during live Aid. Its clear that he only wants to talk about things related to his solo work. When the interviewer asks about the Stones, Mick turns stone cold, gives a vague and brief answer about recording and takes it upon himself to end the interview with a phony smile. Classic.

[www.youtube.com]

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ryanpow
I came across this clip of Mick awhile ago of Mick Being Interviewed during live Aid. Its clear that he only wants to talk about things related to his solo work. When the interviewer asks about the Stones, Mick turns stone cold, gives a vague and brief answer about recording and takes it upon himself to end the interview with a phony smile. Classic.

[www.youtube.com]

I would love to know what happened between Mick and Keith for Mick to want to shed the Stones to this degree.
Live aide with the Stones would have put them back on the map in a huge way, good performances from various acts kicked off better careers and huge record sales for bands like Queen, Bowie and Clapton.
Micks supposed to be this brilliant businessman, but he missed a giant opportunity to put the Stones back were they belong with what could have been fantastic performance at Live Aide.
Mick really pissed me off at this point, it still pisses me off to this day, we the fans missed out because Mick's sulking over Keith for some reason or another. What a short sighted petty little man, i say man, he's more of a Brenda like Keith says.
Yeah they got back together, but as old men, i wanted to see them Rock in the 80's.
Jeez i got to stop moaning about this, i guess i want closure as to what went on between the Glimmers but we didn't get to find out.
Suddenly its all smiles with Steel Wheels, Mixed Emotions and we're all friends again, but now we get Matt Clifford and Chuck Level. Not the same.



Edited 1 time(s). Last edit at 2017-07-04 20:07 by stone4ever.

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ryanpow
I came across this clip of Mick awhile ago of Mick Being Interviewed during live Aid. Its clear that he only wants to talk about things related to his solo work. When the interviewer asks about the Stones, Mick turns stone cold, gives a vague and brief answer about recording and takes it upon himself to end the interview with a phony smile. Classic.

[www.youtube.com]

He definitely didn't have much to say about his Stones brethren - it was all about him!

A shame they didn't play together as a band at Live Aid though - what we were given was Mick solo and the Dylan/Keith/Ronnie fisaco.
I remember watching all of Live Aid live on MTV (or most of it), and Dylan and the Led Zeppelin reunion were really the only two acts I was looking forward to. Ironic as both of those were probably the worst of the entire lineup!

According to setlist fm, this was Micks setlist - is this accurate?

Lonely at the Top
Just Another Night
Miss You
State of Shock (with Tina Turner)
It's Only Rock 'n' Roll (But I Like It) (with Tina Turner)

All I remember is Tina Turner, and I thought it was Mick who joined her set rather than vice versa.

______________________________________________________________


And there's this tidbit about Dancing in the Streets:

Bowie/Jagger


But Bowie’s Live Aid story would be incomplete without the saga of his duet on “Dancing In The Street” with Mick Jagger. With Bowie in the UK and Jagger in the U.S., the original idea was for them to sing some kind of intercontinental duet via satellite, but there was no way it would work from a technical perspective. Instead, the two decided to film a video that would, instead, be broadcast simultaneously on the big screens at Wembley Stadium and JFK Stadium, and on television for those watching at home.

Basically, what we ended up with was watching two friends get sloppy drunk and go out for karaoke. Except the two friends are famous rock stars and can actually sing. And there is definitely some professional singing going on, but that seems to be an accident of talent, and not any actual intent behind either Jagger or Bowie. The song they choose is all right, but then it’s made a mockery of by a clumsy, ham-fisted rearrangement (that, to be honest, isn’t that far from a karaoke track).

It all started out well enough; the vocals and rhythm tracks were recorded in London, by the backing band that was working with Bowie on the “Absolute Beginners” soundtrack. But then, Jagger—who, let’s remember, had just released the eminently forgettable “She’s The Boss” and was working on the Stones’ “Dirty Work”—took the tapes back to New York where he mucked up what could have been a good thing with synthetic-sounding horns, brassy backing singers, and way too much ’80s G.E. Smith guitar.


Being a David Bowie fan in high school was a tough thing, the kind of situation where you’d get shoved into the lockers with extra oomph and with a mumbled f-word (the pejorative term used to describe homosexuals). To be honest, it wasn’t much easier being a fan of the Stones in the late ’70s either, because the people who cared about that also pretty much thought the same thing about Mick Jagger. This video did not help in that regard.

Of course, on the other hand, there was much that was scandalous and lovely and ridiculous and the stuff of many people’s (both male and female) fantasies. But all of that was largely ruined by hijinx, by that ridiculous duster Bowie is wearing, by Jagger’s hideous aquamarine shirt, by the dance moves that are…not dance, but rather like a couple of spazzy teenage boys practicing in front of their mirrors. And the negative production values don’t help, like a line of parked cars with headlights on to give atmosphere, and zero attempt to hide or obscure the beer can Jagger chugs in the middle of the song.

(A friend once sat behind the stage for a Stones concert, and had a pair of binoculars with him. He decided he would use the binoculars to read Jagger’s teleprompter. He learned that the prompter didn’t just offer lyrics, but also stage directions, like “Extra spazz!!” That is an apt description of what the only choreographical direction could have been for this video.)

All of the above, of course, also describes the video’s charm. Those who had been paying attention all these years felt like we were part of some inside circle, because we got the jokes, while the rest of the world sent the single into the top 10 in the US and #1 in the UK. (It would end up being Bowie’s last recording to chart so highly.)

Let us not remember “Dancing In The Street” for that, but rather for the high ham offered by Bowie on the lyric, “On the streets of Brazil,” when he shimmies a hip wiggle that undoubtedly caused preteens everywhere to go into early puberty, while simultaneously caressing himself (see above). It’s as Bowiesque as anything else that happened that day.


_______________________________________________________________________



"Jagger’s teleprompter... didn’t just offer lyrics, but also stage directions, like “Extra spazz!!”'


Lol....

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Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2017-07-04 19:45 by Hairball.

OMG i always suspected Mick planned all this to the last detail, nothing spontaneous about the way he Rocks, everything rehearsed to the finest detail and it shows. Wave here, walk fast over there, clap hands, back to the band hop skip jump, now forward, sway to the left now to the right. Save my voice , don't sing with power, just enough is all you get for 700 dollars fank you very much i got another show next week.
Its the biggest load of tosh and everyone loves it because its the Stones, because the music is incredible.

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ryanpow
I came across this clip of Mick awhile ago of Mick Being Interviewed during live Aid. Its clear that he only wants to talk about things related to his solo work. When the interviewer asks about the Stones, Mick turns stone cold, gives a vague and brief answer about recording and takes it upon himself to end the interview with a phony smile. Classic.

[www.youtube.com]

He definitely didn't have much to say about his Stones brethren - it was all about him!

A shame they didn't play together as a band at Live Aid though - what we were given was Mick solo and the Dylan/Keith/Ronnie fisaco.
I remember watching all of Live Aid live on MTV (or most of it), and Dylan and the Led Zeppelin reunion were really the only two acts I was looking forward to. Ironic as both of those were probably the worst of the entire lineup!

According to setlist fm, this was Micks setlist - is this accurate?

Lonely at the Top
Just Another Night
Miss You
State of Shock (with Tina Turner)
It's Only Rock 'n' Roll (But I Like It) (with Tina Turner)

All I remember is Tina Turner, and I thought it was Mick who joined her set rather than vice versa.

That seems right. I think all of it can be found on You Tube.

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stone4ever
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I would love to know what happened between Mick and Keith for Mick to want to shed the Stones to this degree.

I think it's just all the stuff we've heard about. Keith bad mouthing Mick after he did his record deal without telling any one else about it and preforming Stones songs while on the road. WWIII.

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I would love to know what happened between Mick and Keith for Mick to want to shed the Stones to this degree.

I think it's just all the stuff we've heard about. Keith bad mouthing Mick after he did his record deal without telling any one else about it and preforming Stones songs while on the road. WWIII.

So we all missed out on those years because they were acting like a couple of sulky girls
Oh well never mind, life goes on lol
Funny how this band means so much to so many people. They could have told us all to @#$%& off ten years ago and retired but they didn't.
Its a love hate relationship for me, i still go to see them, i still want more, i still keep thinking they will be amazing, and for the most part they still are. Just listening to JJF, PIB and GS from the recent Hyde Park gig, shit man it makes you high, they are still fantastic, no one like them.

turner is, of course, full-on power, glory & heat. This is as good as Let It Bleed or one of those deservedly huge ones. I agree a little Tim Ries would have brought some much needed texture dimension and so on but at least I can dream...

this is one of heaviest heartiest and most indelible songs any of them have ever been involved with recording. The band is magnificent. Jagger had that vocal and they sweated thru many audio scenarios to get it perfect. It was reocnogized as an important song in ther canon or it wouldn't have been re-done...
there are great classic important wonderful Stones song that Charlie is not playing on; none of them are on DW, tho I'm not here to slam that; I like Had It With You and Shuffle.
and this is a classic wonderful important solo/stones song that did not need K and that K could not improve upon. He justfiably, or whatever, bitter. If it was my chick I'd have very mixed emotions about her w horny bandmates doing a major project without him...there would have been troulbe in Paradise. I would have had to brought Charlie along to give his singer a tap ho ho...

...this is one of the most important 'stones' song ever. I mean I didn't put it in a seperate section asway from my Stones LPs...ever...they are very lucky to have an association with ry, for a ton of reasons. Thank God there is one perfect track, however long, varied and weird the road to it was. Kudos to Jags for staying with so many versions of this. It could have easily slipped away; and did actually when The Stones cut it. It fell right apart and wasn't worth the glue to try to mend it imo. This is so clearly a barometer as to how someone hears and files something in their own rock and roll hearts and spirit. This is one of their most major accomplishments....
...this, like Man Who Fell To Earth, (tho that didn't have a classic defining powerful rocking soulful brilliant theme song) , it is a gem; not only an important film; but the deeper resonances of the characters connction to the mysterious and magical power of music and narrative, is brought out like fresh-killed meat at a harvest barbecue...this is deep stuff and wonderful stuff. UK gangsters, fashion models, pop stars connecting to these deep swampy magic of Ry's brilliant power and masters touch. Everything about MFT soundtrack is well accopmlished. Mick had tremendous natural power here; maybe his prime period of vocals generally speaking...it is tremendou. it is a barometer of rock and roll heart; it is a challeninllg and demanding film, and the song perfectly embodies that; those players aer amazing each one. this is as close as they'll ever get to Tom Waitsian weary battered but true-heart-touch wisdom; it's almost something Leonard Cohen would have written for that album 'future' is on...'i've seen the future brother, and it's...murder..'
...this is thirlling hard wonderful top; of the genre, leading the charge, fearlessly original and accomplishment. This is one of the best most impactful vocals ever on a film, even a musical with teams of the best writers., this is like a cagney film if The Doors were be boppers in the 30's or something...the music is perect. the band is perfect. it could not bettered; they approahed from al different angles; cirlced it and came loaded for bear...waited then aimed and shot again and again and couldn't hit anything. It's perfect.

Raked over for the 80's = harsh. The 80's were... best to remain blotted out.
Say, Mick's an Aretha Franklin fan
long weekend in the States
'The House That Jack Built'
off her greatest hits
(edit to remove a slight snark on my part)



Edited 1 time(s). Last edit at 2017-07-04 23:13 by 35love.

Well, I'm in the minority it appears. "Memo From Turner" is a track I rank with the best of the band's work in the same era. The METAMORPHOSIS version is crap to my ears. I love the PERFORMANCE soundtrack with that song as the apex. I really enjoy "The Wild Colonial Boy" as well. I think "Too Many Cooks (Spoil the Soup) " is as good as anything on GOATS HEAD SOUP and IT'S ONLY ROCK 'N' ROLL. I think "(Walk and) Don't Look Back" is worthy of inclusion on SOME GIRLS.

I love "Just Another Night." I didn't much care for "Lucky in Love," but a bit of pruning could have helped. I used to like "Hard Woman." While I don't much care for it now, I think it stands head and shoulders above "Streets of Love."

"State of Shock" is okay. I much preferred "Dancing in the Street." Both would have made SHE'S THE BOSS stronger. "Ruthless People" is sort of like the evil twin of "Winning Ugly." The flip side, "I'm Ringing" is absolute trash.

"Let's Work" is curious. It's not good, certainly, but I still want to hear it before it was remixed by Steve Thompson and Michael Barbiero. The released version is clearly an edit of the dance mix. The original undoctored mix Ed Stasium prepared has to be better.

"Throwaway" is okay by me. I like it better than some of the rockers the band has released as singles in the last three decades. Terry summed up "Say You Will" for me by noting Mick tends to use songs as love letters in his later years. He may be writing about events in the past, but they certainly strike one as reflective of his contemporaneous affairs.

WANDERING SPIRIT takes its rightful place alongside MAIN OFFENDER, VOODOO LOUNGE, and BRIDGES TO BABYLON as the Big Four of the second half of their career. They may never equal their sixties and seventies peak, but the albums still hold up despite the odd lyrical train wreck.

GODDESS IN THE DOORWAY is typical of late-period Jagger with or without the Stones. I love "Hideaway," but thought "Visions of Paradise" was simply embarrassing and "God Gave Me Everything" was an unnecessary grafting of Mick on what otherwise appeared to be a Lenny Kravitz track. Matt Clifford is a strange character. I really enjoyed his work on STEEL WHEELS. He was the unexpected fit on that album and the unsung source of much that stands out to this day. Since then, he appears to be the unwanted collaborator helping Mick turn out schlock. Compare his work on this album to the truly beautiful "Angel in My Heart" on WANDERING SPIRIT where he again struck me as the unsung hero.

The ALFIE soundtrack is pretty much a waste for me. I love "Old Habits Die Hard" (not the fake duet version). I enjoy "The Blind Leading the Blind" and Mick's new lyrics are an improvement on the first version Dave Stewart cut in the early 1990s. "Let's Make It Up" is another of those "improvised in ten minutes because I can't really be bothered" type numbers that I associate with the recent decline in quality control. "Lonely Without You" is fine as pastiches of Charles Brown go, but Joss Stone just sounds like she's translating for Mick as she does on most of SUPERHEAVY. The dreadful "Wicked Time" is really the blueprint for the misbegotten SUPERHEAVY album and the equally painful will.i.am/J.Lo collaboration to follow.

SUPERHEAVY only offers the passable Dylan impersonation on "Never Gonna Change" and the dire "I Can't Take It" as true Jagger numbers. A verse or two on "Miracle Worker" or the chorus on "Energy" don't amount to much. The wag at Rolling Stone who likened "One Day, One Night" to "Sister Morphine" should be flogged publicly. "Warring People" recycles the bridge from "Kow Tow" to nice effect and "I Don't Mind" might have been lovely. The trouble is the tracks usually sound like someone is channel-surfing and the diverse approaches fail to gell. Dave Stewart and Mick may have been miracle workers themselves in making something even half-way coherent of these jam sessions, but they hardly work as songs. A curio at best, a misfire at worst.

Then there's "Charmed Life." Much of this song was reworked in early 2007 despite the credits claiming it's a WANDERING SPIRIT outtake. Ashley Beadle added bits and pieces from other Jagger tracks (early versions of "Just Another Night" and "Sweet Thing" in particular) and his dance mix even incorporated a bit of "Memo From Turner" and a snippet from Mick's dreadful RUNNING OUT OF LUCK movie. It doesn't help salvage the piece of junk Mick passed off as a song. His bass playing notwithstanding, this unworthy of release. "Yeah, Woo, I'm famous" does not constitute a lyric. Karis does her best to evoke Missy Elliott who turned down a chance to cut this track with Mick for Fatboy Slim and Rodney Jerkins during the GODDESS IN THE DOORWAY sessions. I'm with Missy on this one. Substandard in every way except for Mick's bassline which found a nice groove with no place to go.

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stone4ever
Excuse me but how does Mick go from writing Memo From Turner to Lets Work

Because Sympathy For The Devil to Winning Ugly? Or Jumpin' Jack Flash to Might As Well Get Juiced? Street Fighting Man to Streets Of Love? Gimme Shelter to Sweet Neo Con? Brown Sugar to Keys To Your Love? Rocks Off to Stealing My Heart?

ETC!!!!!!!!!!

Rocky Dijon thank you ---- I disagree with your 'Alfie' review, but glad you are here!!

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stone4ever

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ryanpow

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stone4ever
[

I would love to know what happened between Mick and Keith for Mick to want to shed the Stones to this degree.

I think it's just all the stuff we've heard about. Keith bad mouthing Mick after he did his record deal without telling any one else about it and preforming Stones songs while on the road. WWIII.

So we all missed out on those years because they were acting like a couple of sulky girls
Oh well never mind, life goes on lol
Funny how this band means so much to so many people. They could have told us all to @#$%& off ten years ago and retired but they didn't.
Its a love hate relationship for me, i still go to see them, i still want more, i still keep thinking they will be amazing, and for the most part they still are. Just listening to JJF, PIB and GS from the recent Hyde Park gig, shit man it makes you high, they are still fantastic, no one like them.

In 50 years its not surprising at all that at some point they both thought "I don't need the other guy". Nearly every other band has done that. While I understand Keith maybe being taken aback but Mick trying stuff on his own, I in no way question Mick's thinking. Keith could've died at any moment and Mick was looking out for himself which makes perfect sense. In the end, they were together way longer than most bands at that time (20 years). If it took a 7 year break, so be it. It makes perfect sense.

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35love
Rocky Dijon thank you ---- I disagree with your 'Alfie' review, but glad you are here!!

Thanks, 35love. My opinions are just that and worth no more than anyone else's. Cheers from a transplanted San Francisco boy. And by the way, I did point out I love "Old Habits Die Hard" and think highly of "The Blind Leading the Blind." I would never suggest "Streets of Love" even approached their level of quality.



Edited 1 time(s). Last edit at 2017-07-05 04:08 by Rocky Dijon.

While watching Mick's performance at Live Aid, it dawned on me that this song and performance have a heavy "Footloose" vibe to it.

Mick Jagger - Lonely At The Top - Live Aid 1985




Seeing as Kenny Loggins' Footloose came out the year before, it seems obvious to me that Mick was inspired by it's sound, vibe, and success.
Three weeks at number one, March 31—April 14, 1984 on the US Billboard Hot 100, and Billboard ranked it at the No. 4 song for 1984.

Kenny Loggins - Footloose





Mick even seems to incorporate some of Kevin Bacon's dance moves into his performance.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2017-07-05 04:10 by Hairball.

Hmm. You might want to listen to Kenny Loggins' guitar riff on "Footloose" and notice that it has a slight similarity to one of the licks in "Neighbours."

That's a stretch Rocky, but I trust you hear it.
Hard to sit through an entire listen to Footloose even just once!

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2017-07-05 04:14 by Hairball.

Interesting comparison to Footloose to Lonely at the Top. I've never noticed that before but I can hear it.


I first became familiar with Lonely at the Top on the first DVD I had of Hampton. It played in the background on the Menu. Mick's song is a sped up version of this mid-tempo rocker:

[www.youtube.com]

The Stones' version of "Lonely at the Top" is closer musically to "One Hit (to the Body). "

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ryanpow
Interesting comparison to Footloose to Lonely at the Top. I've never noticed that before but I can hear it.


I first became familiar with Lonely at the Top on the first DVD I had of Hampton. It played in the background on the Menu. Mick's song is a sped up version of this mid-tempo rocker:

[www.youtube.com]

The Stones version is almost an entirely different tune - sludgier, sloppier, and more sincere sounding - definitely of a higher quality.
It's obviously still a work in progress, but one wonders what the Stones would have done to it to finish it up vs. what Mick ended up doing to it
with the awful Foot Loose vibe, and horrible sounding production. Even Jeff Beck couldn't help the studio version, and that live version speaks for itself -truly the bottom of the barrel imo.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

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GasLightStreet

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stone4ever
Excuse me but how does Mick go from writing Memo From Turner to Lets Work

Because Sympathy For The Devil to Winning Ugly? Or Jumpin' Jack Flash to Might As Well Get Juiced? Street Fighting Man to Streets Of Love? Gimme Shelter to Sweet Neo Con? Brown Sugar to Keys To Your Love? Rocks Off to Stealing My Heart?

ETC!!!!!!!!!!

I see what you mean, i know i'm a bit slow but i was thinking that in comparison Keith's solo albums show a connection to Keith's Stones writing with songs like Take It So Hard, How I Wish, Locked Away, Wicked A It Seems, You Don't Move Me, Locked Away etc etc.
We can see a connection in ability, we can see that the same writer took part in these tracks as say Beast Of Burden or BTMMR or Happy.

I just don't see a connection from Mick's writing earlier in his career to Sh'es The Boss.
Sorry just saying



Edited 1 time(s). Last edit at 2017-07-05 10:47 by stone4ever.

love ya work Rocky .... about the only one I trust and read in its entirety



ROCKMAN

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Rockman
love ya work Rocky .... about the only one I trust and read in its entirety

+ 1

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stone4ever

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GasLightStreet

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stone4ever
Excuse me but how does Mick go from writing Memo From Turner to Lets Work

Because Sympathy For The Devil to Winning Ugly? Or Jumpin' Jack Flash to Might As Well Get Juiced? Street Fighting Man to Streets Of Love? Gimme Shelter to Sweet Neo Con? Brown Sugar to Keys To Your Love? Rocks Off to Stealing My Heart?

ETC!!!!!!!!!!

I see what you mean, i know i'm a bit slow but i was thinking that in comparison Keith's solo albums show a connection to Keith's Stones writing with songs like Take It So Hard, How I Wish, Locked Away, Wicked A It Seems, You Don't Move Me, Locked Away etc etc.
We can see a connection in ability, we can see that the same writer took part in these tracks as say Beast Of Burden or BTMMR or Happy.

I just don't see a connection from Mick's writing earlier in his career to Sh'es The Boss.
Sorry just saying

A different view could be that while Keith was always trapped in a limited musical landscape, Mick at least tried to widen his.

But, whatever, and for what it's worth, while there's obviously little connection from Mick's earlier writing to She's The Boss, I can hear one to Wandering Spirit.