Tell Me :
Talk
Nah.
The live version in 1969 is a better chorus (just as with HTW in 1975).
But the melody is gone..
The chorus on HTW in 76 is the same as the last chorus on the studio version.
Salt of the Earth.
Kind of understandable given how it was recorded.
I love the soundtrack version. An amazing song and 'performance'. It captures the vibe of the film, the character Turner, the experimental, but harder edged aura of that time.
Same here. "Memo from Turner", the film version is one of the best tracks ever out of the Stones camp. And IMO "Family" is one of the very rare misfires; esp. lyrically
I think it's understandable, that Family didn't make it to BB, but it's not all bad. Lyrically it might be inspired by Morrisons oedipal scene in The End - trying to something similar, but different too.
MFT could have made it to both BB and LIB (but I don't miss it on neither of them)
But it has way more attitude!
I like the freaky attitude on the JJF studio version.
(Large picture)
Album: [iTunes.apple.com] · [www.Amazon.co.uk]
CD-Single: [Store.UniversalMusic.com] · [www.jpc.de]
12"-Vinyl: [Store.UniversalMusic.com] · [www.jpc.de] · [Store.AcousticSounds.com]
T-Shirt Bundles: [Store.UniversalMusic.com]
HiRes-Download: [iorr.org] , [iorr.org]
Gotta Get A Grip - [www.Amazon.co.uk] -- Official Video: [www.YouTube.com]
England Lost - [www.Amazon.co.uk] -- Official Video: [www.YouTube.com]
(Large picture)
Album: [iTunes.apple.com] · [www.Amazon.co.uk]
England Lost [feat. Skepta] - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Seeb Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Kevin Parker Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Alok Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Matt Clifford Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Edited 9 time(s). Last edit at 2017-07-31 09:55 by Irix.
I don't dislike Jagger solo or Michael Jackson at all, but I always thought that song was the real horror. Comparable only with the worst tracks on STB.
You’ve had too much smoke inhalation
Edited 1 time(s). Last edit at 2017-12-09 07:30 by 35love.
I remember when that came out. I was curious about it because of Whacko's success at the time, which no one could escape. Listening to it now it's very... immature (I was going to say bad but the pun..). But there's an odd thing about it that works really good - Whacko singing the high harmony.
The effects in the choruses are cheese in 3D.
Even worse - it's Jagger's biggest solo hit, getting up to #3 on the Billboard Hot 100 chart.
The difference between Mick and Keith's solo careers is huge. Simon Phillips nailed it:
From my point of view, when we started playing shows in Japan, half the set was Stones songs. I felt, “What’s the point? Why do that? This is a chance for you to do something different, a solo project. Why not do it solo? Yes, play smaller places, sure. But wouldn’t it actually have a more of a test of time to that?”
Unless, of course, this was part of a master plan to get the Stones into Japan.
Talk about your favorite band.
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Re: Mick Jagger solo works
Posted by:
Rockman
()
Date: July 10, 2017 02:30
but I still say Mick is one hell of a singer if you look at his whole career.
Yeah same here ryanpow ....
ROCKMAN
Yeah same here ryanpow ....
ROCKMAN
Re: Mick Jagger solo works
Posted by:
Rockman
()
Date: July 10, 2017 02:32
The first 20mins of Bernard in the RocknRoll Guns For Hire doco fits in here with Mick's solo works ......
[wetransfer.com]
ROCKMAN
[wetransfer.com]
ROCKMAN
Re: Mick Jagger solo works
Posted by:
TheflyingDutchman
()
Date: July 11, 2017 15:23
In the studio you strive for perfection as a pop singer. Live Jagger also moved a lot which is not good for holding the pitch etc. Freddie Mercury or George Michael were a different league on stage, let alone all those prog rock singers in the 7-tees.
Edited 1 time(s). Last edit at 2017-07-11 15:24 by TheflyingDutchman.
Edited 1 time(s). Last edit at 2017-07-11 15:24 by TheflyingDutchman.
Re: Mick Jagger solo works
Posted by:
GasLightStreet
()
Date: July 11, 2017 16:22
Quote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
It's been downhill since after the first bridge in JFF from Rock'n'Roll Circus...
PS: He doesn't hold notes on the MSG 69-version. He's actually talking his way through the bridge
Jumpin' Jack Flash does not have a bridge. It's verse and chorus. That's it!
Technically, yes.
One may say that the "Jumping Jack Flash, it's a gaz"-part is a third part of the song, though..
Nah.
The live version in 1969 is a better chorus (just as with HTW in 1975).
Re: Mick Jagger solo works
Posted by:
DandelionPowderman
()
Date: July 11, 2017 22:33
Quote
GasLightStreetQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
It's been downhill since after the first bridge in JFF from Rock'n'Roll Circus...
PS: He doesn't hold notes on the MSG 69-version. He's actually talking his way through the bridge
Jumpin' Jack Flash does not have a bridge. It's verse and chorus. That's it!
Technically, yes.
One may say that the "Jumping Jack Flash, it's a gaz"-part is a third part of the song, though..
Nah.
The live version in 1969 is a better chorus (just as with HTW in 1975).
But the melody is gone..
The chorus on HTW in 76 is the same as the last chorus on the studio version.
Re: Mick Jagger solo works
Posted by:
His Majesty
()
Date: July 12, 2017 05:54
Quote
DandelionPowdermanQuote
Hairball
OK it's all good...
Off my favourite Stones album? That's hard, man..
Well, it might be Dear Doctor (but it hurts me to say)...
Salt of the Earth.
Re: Mick Jagger solo works
Posted by:
His Majesty
()
Date: July 12, 2017 07:13
Quote
matxilQuote
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".
Kind of understandable given how it was recorded.
I love the soundtrack version. An amazing song and 'performance'. It captures the vibe of the film, the character Turner, the experimental, but harder edged aura of that time.
Re: Mick Jagger solo works
Posted by:
TeddyB1018
()
Date: July 12, 2017 07:36
The soundtrack version of Memo From Turner is fantastic. Maybe it's the film context, but it works in a way the lyrically similar Family does not quite.
Re: Mick Jagger solo works
Posted by:
Palace Revolution 2000
()
Date: July 12, 2017 10:00
Quote
TeddyB1018
The soundtrack version of Memo From Turner is fantastic. Maybe it's the film context, but it works in a way the lyrically similar Family does not quite.
Same here. "Memo from Turner", the film version is one of the best tracks ever out of the Stones camp. And IMO "Family" is one of the very rare misfires; esp. lyrically
Re: Mick Jagger solo works
Posted by:
DandelionPowderman
()
Date: July 12, 2017 11:54
Some of the Family outtakes are rather good, though. But they all fall apart after a while 
Re: Mick Jagger solo works
Posted by:
GetYerAngie
()
Date: July 12, 2017 14:49
Quote
DandelionPowderman
Some of the Family outtakes are rather good, though. But they all fall apart after a while
I think it's understandable, that Family didn't make it to BB, but it's not all bad. Lyrically it might be inspired by Morrisons oedipal scene in The End - trying to something similar, but different too.
MFT could have made it to both BB and LIB (but I don't miss it on neither of them)
Re: Mick Jagger solo works
Posted by:
GasLightStreet
()
Date: July 13, 2017 04:33
Quote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
It's been downhill since after the first bridge in JFF from Rock'n'Roll Circus...
PS: He doesn't hold notes on the MSG 69-version. He's actually talking his way through the bridge
Jumpin' Jack Flash does not have a bridge. It's verse and chorus. That's it!
Technically, yes.
One may say that the "Jumping Jack Flash, it's a gaz"-part is a third part of the song, though..
Nah.
The live version in 1969 is a better chorus (just as with HTW in 1975).
But the melody is gone..
The chorus on HTW in 76 is the same as the last chorus on the studio version.
But it has way more attitude!
Re: Mick Jagger solo works
Posted by:
DandelionPowderman
()
Date: July 13, 2017 10:33
Quote
GasLightStreetQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
It's been downhill since after the first bridge in JFF from Rock'n'Roll Circus...
PS: He doesn't hold notes on the MSG 69-version. He's actually talking his way through the bridge
Jumpin' Jack Flash does not have a bridge. It's verse and chorus. That's it!
Technically, yes.
One may say that the "Jumping Jack Flash, it's a gaz"-part is a third part of the song, though..
Nah.
The live version in 1969 is a better chorus (just as with HTW in 1975).
But the melody is gone..
The chorus on HTW in 76 is the same as the last chorus on the studio version.
But it has way more attitude!
I like the freaky attitude on the JJF studio version.
Re: Mick Jagger solo works
Posted by:
Irix
()
Date: July 28, 2017 13:00
(Large picture)
Album: [iTunes.apple.com] · [www.Amazon.co.uk]
CD-Single: [Store.UniversalMusic.com] · [www.jpc.de]
12"-Vinyl: [Store.UniversalMusic.com] · [www.jpc.de] · [Store.AcousticSounds.com]
T-Shirt Bundles: [Store.UniversalMusic.com]
HiRes-Download: [iorr.org] , [iorr.org]
Gotta Get A Grip - [www.Amazon.co.uk] -- Official Video: [www.YouTube.com]
England Lost - [www.Amazon.co.uk] -- Official Video: [www.YouTube.com]
(Large picture)
Album: [iTunes.apple.com] · [www.Amazon.co.uk]
England Lost [feat. Skepta] - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Seeb Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Kevin Parker Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Alok Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Gotta Get A Grip (Matt Clifford Remix) - [www.Amazon.co.uk] -- Video: [www.YouTube.com]
Edited 9 time(s). Last edit at 2017-07-31 09:55 by Irix.
Re: Mick Jagger solo works
Posted by:
Doxa
()
Date: November 8, 2017 11:54
These are some prelimanary thoughts about Jagger's new 'single' "Gotta Get A Grip" at the time it was released. Not really getting there into reflecting the song itself but more of its novel concept. I guess the actual review might come some day...
---
I’ve been listening now thru and thru all these different mixes of “Gotta Get A Grip”. It looks like Amok re-mix was the one which get me into the song, and I guess it is my favourite still. But anyway, through it’s ‘interpretation’ – with those airy spaces which give room to those traditional blues-based elements (so Stonesian guitars, blues harmonica, Jag’s voice) easy to digest by my old Rolling Stones fan ears – I have started more to appreciate the other mixes as well – and hearing there things that I didn’t first do. And what surprises me is how different they are, and how many different musical choices, not just in mixes and arrangements, but in actual musical parts there are. And the more I listen them, the more I start to like them. Some observations and thoughts.
1. This whole approach of releasing many different versions – I wouldn’t call them even “re-mixes” at all because there are musical elements in some the others don’t have at all – gives altogether a new idea what I have a ‘released song’. Surely there’ve been all kinds of different ‘mixes’ and ‘dubs’ of Jagger and Stones stuff since the 80’s, but usually those have sounded a bit artificial affairs. The different mixes have been exactly that: using the ‘original’ or ‘real’ version as a strong blue print and then fooling around a bit with its sounds – emphasing some elements more than others, etc.. Back in the 80’s it was like a hot thing to do, and they – always trendy – did it. But they have ended up like being some collector’s items mostly, not much adding to the songs really. Anorak stuff.
2. With “Gotta Get A Grip” the idea that there is an ‘official’ version to define and capture the ‘real’ essence of a song has been abandoned. The ‘re- mixers’ have been given such a free hands that they can really build – or re-build – the song almost from the start again. It is important and telling that all these different versions have been released ‘equally’ at the same token – it is the distribution through streaming and youtube, which makes this possible; this kind of easiness in distribution is only possible thanks to a net culture. The old mediums would have been too stiff and rigid (and our concepts based on them).
3. The outcome is that the whole “Gotta Get A Grip” is not ‘one song’ but a kind a ‘hybrid’ of different versions not to end up but to begin with. A vague idea that has different reincarnations, different realizations that altogether to get the idea of the song. To make a simple analogy (coming from a recent discussion in IORR): think of The Stones having released “Street Fighting Man” as a double single: A-side will feature the BEGGARS BANQUET studio version and B-side the YA-YA'S live version. What had been our idea what “Street Fighting Man” really is? Which is the ‘real’ version? Neither of them I claim, but the ‘idea’ we would construct from the base of this two incarnations (and if that example doesn’t work, think of “Sympathy For The Devil” in those two incarnations). What Jagger & co are aiming here for is a similar effect, and thereby “Gotta Get A Grip” is not actually ‘one song’, but a ‘nice bunch of versions of a song’. As a listening experience, “Gotta Get A Grip” is actually like a listening a bunch of songs. To me it has been almost like listening to a small album.
4. This not to say that what is done, not even in the case of the Stones is totally novel or unhearable, but the way the whole cake is cooked here in its radicality, is something we haven’t seen earlier (of course, the point of reference, in so far as this is ‘experimental’ or even ‘revolutionary’ is Mick Jagger and The Rolling Stones; The DJ-era artists who have these kind of things for ages already). This is a first real or pure ‘net era’ release by a member of The Rolling Stones family, utilizing the possibilities of the resources of the new media. For an old fart like me, a child of a vinyl era, it has been an interesting and fascinating little adventure and learning process to rethink my own concepts – the the way music is constituted these days, and of its new possibilities in our ‘post-album-era’ or ‘post physical release-era’. Little by little I start to understand what the much hype about new ‘democracy’ of net-era music is all about. Not just that the music is so easily to released and reached, but how that ‘easiness’ affects to the very nature of the music and of its creation processes. Surely there are all those downloads and physical copies available, but those are not the ones driving this project, but more like by-products. It can be, as proposed, that Universal is here ‘testing waters’ not only by the way the song(s) sound, but also and thereby (probably) bridging the way for a new Rolling Stones release, though my view is that their record company is well awere of the potential audience of a Rolling Stones release still consists of people buying old-time physical and digital copies; in the case of catalogue artists like the Stones, the big – or any – money is still there, not in streaming or youtube business.
5. To me quite clear why this is a Mick Jagger release. To make it possible it involves so much radical new ideas that the machinery of The Stones wouldn’t have been flexible enough to make it as it is – pretty hard to think that the guy who made CROSSEYED HEART on his own and BLUE & LONESOME with his pals – many ways beautiful, old-time albums based on old concept of different songs making one big, beautiful over-all musical statement – would have very easily bought – be it good or bad – all these new concepts. There’ve been way too many compromises along the way to water it down, and something in me says that Jagger wasn’t there to make any. It needed to be executed like this.
These were just general observations ‘what’s going on’. I guess some, if not all, of it is ignorant or laughable for many, or that ‘now Doxa has finally gone totally mad’ – but, however, personally I am happy – and very surprised – that a new product by my very old idol is able to have some kind of effect on me. The next I will take a closer look at different re-mixes and add some beef to my claims concerning the substantial musical differences of the versions in this post. But that will be a subject for following posts.
Thank you.
– Doxa
---
I’ve been listening now thru and thru all these different mixes of “Gotta Get A Grip”. It looks like Amok re-mix was the one which get me into the song, and I guess it is my favourite still. But anyway, through it’s ‘interpretation’ – with those airy spaces which give room to those traditional blues-based elements (so Stonesian guitars, blues harmonica, Jag’s voice) easy to digest by my old Rolling Stones fan ears – I have started more to appreciate the other mixes as well – and hearing there things that I didn’t first do. And what surprises me is how different they are, and how many different musical choices, not just in mixes and arrangements, but in actual musical parts there are. And the more I listen them, the more I start to like them. Some observations and thoughts.
1. This whole approach of releasing many different versions – I wouldn’t call them even “re-mixes” at all because there are musical elements in some the others don’t have at all – gives altogether a new idea what I have a ‘released song’. Surely there’ve been all kinds of different ‘mixes’ and ‘dubs’ of Jagger and Stones stuff since the 80’s, but usually those have sounded a bit artificial affairs. The different mixes have been exactly that: using the ‘original’ or ‘real’ version as a strong blue print and then fooling around a bit with its sounds – emphasing some elements more than others, etc.. Back in the 80’s it was like a hot thing to do, and they – always trendy – did it. But they have ended up like being some collector’s items mostly, not much adding to the songs really. Anorak stuff.
2. With “Gotta Get A Grip” the idea that there is an ‘official’ version to define and capture the ‘real’ essence of a song has been abandoned. The ‘re- mixers’ have been given such a free hands that they can really build – or re-build – the song almost from the start again. It is important and telling that all these different versions have been released ‘equally’ at the same token – it is the distribution through streaming and youtube, which makes this possible; this kind of easiness in distribution is only possible thanks to a net culture. The old mediums would have been too stiff and rigid (and our concepts based on them).
3. The outcome is that the whole “Gotta Get A Grip” is not ‘one song’ but a kind a ‘hybrid’ of different versions not to end up but to begin with. A vague idea that has different reincarnations, different realizations that altogether to get the idea of the song. To make a simple analogy (coming from a recent discussion in IORR): think of The Stones having released “Street Fighting Man” as a double single: A-side will feature the BEGGARS BANQUET studio version and B-side the YA-YA'S live version. What had been our idea what “Street Fighting Man” really is? Which is the ‘real’ version? Neither of them I claim, but the ‘idea’ we would construct from the base of this two incarnations (and if that example doesn’t work, think of “Sympathy For The Devil” in those two incarnations). What Jagger & co are aiming here for is a similar effect, and thereby “Gotta Get A Grip” is not actually ‘one song’, but a ‘nice bunch of versions of a song’. As a listening experience, “Gotta Get A Grip” is actually like a listening a bunch of songs. To me it has been almost like listening to a small album.
4. This not to say that what is done, not even in the case of the Stones is totally novel or unhearable, but the way the whole cake is cooked here in its radicality, is something we haven’t seen earlier (of course, the point of reference, in so far as this is ‘experimental’ or even ‘revolutionary’ is Mick Jagger and The Rolling Stones; The DJ-era artists who have these kind of things for ages already). This is a first real or pure ‘net era’ release by a member of The Rolling Stones family, utilizing the possibilities of the resources of the new media. For an old fart like me, a child of a vinyl era, it has been an interesting and fascinating little adventure and learning process to rethink my own concepts – the the way music is constituted these days, and of its new possibilities in our ‘post-album-era’ or ‘post physical release-era’. Little by little I start to understand what the much hype about new ‘democracy’ of net-era music is all about. Not just that the music is so easily to released and reached, but how that ‘easiness’ affects to the very nature of the music and of its creation processes. Surely there are all those downloads and physical copies available, but those are not the ones driving this project, but more like by-products. It can be, as proposed, that Universal is here ‘testing waters’ not only by the way the song(s) sound, but also and thereby (probably) bridging the way for a new Rolling Stones release, though my view is that their record company is well awere of the potential audience of a Rolling Stones release still consists of people buying old-time physical and digital copies; in the case of catalogue artists like the Stones, the big – or any – money is still there, not in streaming or youtube business.
5. To me quite clear why this is a Mick Jagger release. To make it possible it involves so much radical new ideas that the machinery of The Stones wouldn’t have been flexible enough to make it as it is – pretty hard to think that the guy who made CROSSEYED HEART on his own and BLUE & LONESOME with his pals – many ways beautiful, old-time albums based on old concept of different songs making one big, beautiful over-all musical statement – would have very easily bought – be it good or bad – all these new concepts. There’ve been way too many compromises along the way to water it down, and something in me says that Jagger wasn’t there to make any. It needed to be executed like this.
These were just general observations ‘what’s going on’. I guess some, if not all, of it is ignorant or laughable for many, or that ‘now Doxa has finally gone totally mad’ – but, however, personally I am happy – and very surprised – that a new product by my very old idol is able to have some kind of effect on me. The next I will take a closer look at different re-mixes and add some beef to my claims concerning the substantial musical differences of the versions in this post. But that will be a subject for following posts.
Thank you.
– Doxa
Re: Mick Jagger solo works
Posted by:
runrudolph
()
Date: November 8, 2017 12:10
Thanks Doxa, also for the blue n lonesome Interview.
Ciao
jeroen
Ciao
jeroen
Re: Mick Jagger solo works
Posted by:
GetYerAngie
()
Date: November 13, 2017 00:16
Quote
Doxa
These are some prelimanary thoughts about Jagger's new 'single' "Gotta Get A Grip" at the time it was released. Not really getting there into reflecting the song itself but more of its novel concept. I guess the actual review might come some day...
---
I’ve been listening now thru and thru all these different mixes of “Gotta Get A Grip”. It looks like Amok re-mix was the one which get me into the song, and I guess it is my favourite still. But anyway, through it’s ‘interpretation’ – with those airy spaces which give room to those traditional blues-based elements (so Stonesian guitars, blues harmonica, Jag’s voice) easy to digest by my old Rolling Stones fan ears – I have started more to appreciate the other mixes as well – and hearing there things that I didn’t first do. And what surprises me is how different they are, and how many different musical choices, not just in mixes and arrangements, but in actual musical parts there are. And the more I listen them, the more I start to like them. Some observations and thoughts.
1. This whole approach of releasing many different versions – I wouldn’t call them even “re-mixes” at all because there are musical elements in some the others don’t have at all – gives altogether a new idea what I have a ‘released song’. Surely there’ve been all kinds of different ‘mixes’ and ‘dubs’ of Jagger and Stones stuff since the 80’s, but usually those have sounded a bit artificial affairs. The different mixes have been exactly that: using the ‘original’ or ‘real’ version as a strong blue print and then fooling around a bit with its sounds – emphasing some elements more than others, etc.. Back in the 80’s it was like a hot thing to do, and they – always trendy – did it. But they have ended up like being some collector’s items mostly, not much adding to the songs really. Anorak stuff.
2. With “Gotta Get A Grip” the idea that there is an ‘official’ version to define and capture the ‘real’ essence of a song has been abandoned. The ‘re- mixers’ have been given such a free hands that they can really build – or re-build – the song almost from the start again. It is important and telling that all these different versions have been released ‘equally’ at the same token – it is the distribution through streaming and youtube, which makes this possible; this kind of easiness in distribution is only possible thanks to a net culture. The old mediums would have been too stiff and rigid (and our concepts based on them).
3. The outcome is that the whole “Gotta Get A Grip” is not ‘one song’ but a kind a ‘hybrid’ of different versions not to end up but to begin with. A vague idea that has different reincarnations, different realizations that altogether to get the idea of the song. To make a simple analogy (coming from a recent discussion in IORR): think of The Stones having released “Street Fighting Man” as a double single: A-side will feature the BEGGARS BANQUET studio version and B-side the YA-YA'S live version. What had been our idea what “Street Fighting Man” really is? Which is the ‘real’ version? Neither of them I claim, but the ‘idea’ we would construct from the base of this two incarnations (and if that example doesn’t work, think of “Sympathy For The Devil” in those two incarnations). What Jagger & co are aiming here for is a similar effect, and thereby “Gotta Get A Grip” is not actually ‘one song’, but a ‘nice bunch of versions of a song’. As a listening experience, “Gotta Get A Grip” is actually like a listening a bunch of songs. To me it has been almost like listening to a small album.
4. This not to say that what is done, not even in the case of the Stones is totally novel or unhearable, but the way the whole cake is cooked here in its radicality, is something we haven’t seen earlier (of course, the point of reference, in so far as this is ‘experimental’ or even ‘revolutionary’ is Mick Jagger and The Rolling Stones; The DJ-era artists who have these kind of things for ages already). This is a first real or pure ‘net era’ release by a member of The Rolling Stones family, utilizing the possibilities of the resources of the new media. For an old fart like me, a child of a vinyl era, it has been an interesting and fascinating little adventure and learning process to rethink my own concepts – the the way music is constituted these days, and of its new possibilities in our ‘post-album-era’ or ‘post physical release-era’. Little by little I start to understand what the much hype about new ‘democracy’ of net-era music is all about. Not just that the music is so easily to released and reached, but how that ‘easiness’ affects to the very nature of the music and of its creation processes. Surely there are all those downloads and physical copies available, but those are not the ones driving this project, but more like by-products. It can be, as proposed, that Universal is here ‘testing waters’ not only by the way the song(s) sound, but also and thereby (probably) bridging the way for a new Rolling Stones release, though my view is that their record company is well awere of the potential audience of a Rolling Stones release still consists of people buying old-time physical and digital copies; in the case of catalogue artists like the Stones, the big – or any – money is still there, not in streaming or youtube business.
5. To me quite clear why this is a Mick Jagger release. To make it possible it involves so much radical new ideas that the machinery of The Stones wouldn’t have been flexible enough to make it as it is – pretty hard to think that the guy who made CROSSEYED HEART on his own and BLUE & LONESOME with his pals – many ways beautiful, old-time albums based on old concept of different songs making one big, beautiful over-all musical statement – would have very easily bought – be it good or bad – all these new concepts. There’ve been way too many compromises along the way to water it down, and something in me says that Jagger wasn’t there to make any. It needed to be executed like this.
These were just general observations ‘what’s going on’. I guess some, if not all, of it is ignorant or laughable for many, or that ‘now Doxa has finally gone totally mad’ – but, however, personally I am happy – and very surprised – that a new product by my very old idol is able to have some kind of effect on me. The next I will take a closer look at different re-mixes and add some beef to my claims concerning the substantial musical differences of the versions in this post. But that will be a subject for following posts.
Thank you.
– Doxa
Re: Mick Jagger solo works
Posted by:
Irix
()
Date: December 7, 2017 20:25
Mick Jagger & The Jacksons - State Of Shock (Dance Mix, 5:41) will be released on 5-Jan-2018 on Blank&Jones' Compilation 'so80s [SoEighties] 11' (CD1, Track 5), [www.Amazon.co.uk] , [www.jpc.de] .
Re: Mick Jagger solo works
Posted by:
Monsoon Ragoon
()
Date: December 7, 2017 20:54
Quote
Irix
Mick Jagger & The Jacksons - State Of Shock (Dance Mix, 5:41) will be released on 5-Jan-2018 on Blank&Jones' Compilation 'so80s [SoEighties] 11' (CD1, Track 5), [www.Amazon.co.uk] , [www.jpc.de] .
I don't dislike Jagger solo or Michael Jackson at all, but I always thought that song was the real horror. Comparable only with the worst tracks on STB.
Re: Mick Jagger solo works
Posted by:
35love
()
Date: December 7, 2017 21:32
A brand new small ‘cafe’ opened up in an older ‘American strip mall’
(flat buildings within urban sprawl which contain businesses)
New cafe, it called ‘80’s Cafe’
Outside a painted mural of 80’s icons
George Michael, Michael Jackson, Prince, Madonna.
3 out of the 4 are dead, and the other fled the country.
Not a customer in sight.
Why? Why go back here?
Edited 1 time(s). Last edit at 2017-12-07 21:33 by 35love.
(flat buildings within urban sprawl which contain businesses)
New cafe, it called ‘80’s Cafe’
Outside a painted mural of 80’s icons
George Michael, Michael Jackson, Prince, Madonna.
3 out of the 4 are dead, and the other fled the country.
Not a customer in sight.
Why? Why go back here?
Edited 1 time(s). Last edit at 2017-12-07 21:33 by 35love.
Re: Mick Jagger solo works
Posted by:
Hairball
()
Date: December 7, 2017 23:55
I like it, and still have the original 7 inch vinyl single I bought the day of release!
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Mick Jagger solo works
Posted by:
35love
()
Date: December 8, 2017 00:31
Quote
Hairball
I like it, and still have the original 7 inch vinyl single I bought the day of release!
You’ve had too much smoke inhalation
Edited 1 time(s). Last edit at 2017-12-09 07:30 by 35love.
Re: Mick Jagger solo works
Posted by:
GasLightStreet
()
Date: December 9, 2017 07:17
Quote
Monsoon RagoonQuote
Irix
Mick Jagger & The Jacksons - State Of Shock (Dance Mix, 5:41) will be released on 5-Jan-2018 on Blank&Jones' Compilation 'so80s [SoEighties] 11' (CD1, Track 5), [www.Amazon.co.uk] , [www.jpc.de] .
I don't dislike Jagger solo or Michael Jackson at all, but I always thought that song was the real horror. Comparable only with the worst tracks on STB.
I remember when that came out. I was curious about it because of Whacko's success at the time, which no one could escape. Listening to it now it's very... immature (I was going to say bad but the pun..). But there's an odd thing about it that works really good - Whacko singing the high harmony.
The effects in the choruses are cheese in 3D.
Even worse - it's Jagger's biggest solo hit, getting up to #3 on the Billboard Hot 100 chart.
Re: Mick Jagger solo works
Posted by:
Cristiano Radtke
()
Date: January 22, 2021 00:09
Drummer Simon Phillips on His Years With the Who, Mick Jagger, Jimmy Page, and Toto
The journeyman drummer has also played with Judas Priest, Jeff Beck, and Jack Bruce, and appeared on Pete Townshend’s “Let My Love Open the Door”
Before we get to the Who, how did you wind up playing with Mick Jagger on his 1988 solo tour?
Well, again, that was thanks to Jeff Beck. Jeff was playing on some of the Primitive Cool sessions. Mick was looking for a drummer and he recommended me and I went over to Wisseloord in Holland to record. This was at the end of 1986. We were trying to put a band together with Jeff, [bassist] Doug Wimbish, myself, and Mick. We started rehearsing. I used to have a rehearsal tape of that band, but it unfortunately went in the fire. It sounded amazing, but Mick didn’t want that. He wanted the dancing girls and the singers. It was a bit of a shame. And Jeff didn’t really want to do that, so they parted company.
Why do you think his solo career didn’t take off in the way that he hoped it would?
From my point of view, when we started playing shows in Japan, half the set was Stones songs. I felt, “What’s the point? Why do that? This is a chance for you to do something different, a solo project. Why not do it solo? Yes, play smaller places, sure. But wouldn’t it actually have a more of a test of time to that?”
Unless, of course, this was part of a master plan to get the Stones into Japan. The problem was, the Stones could not enter Japan because of their drug convictions. By doing this on his own, Mr. Udo of Udo Artists had to pull so many strings to get the government to allow Mick to come into the country. Maybe this was just a ploy to slowly get the Stones there.
Then it happened two years later.
Then it happened. Exactly. Maybe there was purpose to his concept. Of course, that’s his prerogative and totally up to him. But from a purely musical and creative point of view, I found it strange. Why are we playing all these Stones songs? This is your solo career. We did speak about this with Jeff way early, back in 1987. “Why are we doing this? And the band sounds great as a four-piece. Just add a keyboard player and let’s play all the new material.” I think it would have been more interesting and historically it would have made a much bigger stamp.
You played with Bob Dylan in 1991 at the Guitar Greats festival. How was that experience?
[Laughs] Oh, boy. I actually played with Keith Richards there, too. It was the first time I met Keith, and after the Jagger thing, I was a bit nervous to meet him. I thought, “Oh, shit, he doesn’t like us very much.” And Pierre de Beauport, his roadie, said to me, “Come meet him. You’ll love him.” And Keith was a sweetheart. He was totally different than what I thought. I was like, “Wow!” So it was all just hype, just rubbish in the press.
[www.rollingstone.com]
The journeyman drummer has also played with Judas Priest, Jeff Beck, and Jack Bruce, and appeared on Pete Townshend’s “Let My Love Open the Door”
Before we get to the Who, how did you wind up playing with Mick Jagger on his 1988 solo tour?
Well, again, that was thanks to Jeff Beck. Jeff was playing on some of the Primitive Cool sessions. Mick was looking for a drummer and he recommended me and I went over to Wisseloord in Holland to record. This was at the end of 1986. We were trying to put a band together with Jeff, [bassist] Doug Wimbish, myself, and Mick. We started rehearsing. I used to have a rehearsal tape of that band, but it unfortunately went in the fire. It sounded amazing, but Mick didn’t want that. He wanted the dancing girls and the singers. It was a bit of a shame. And Jeff didn’t really want to do that, so they parted company.
Why do you think his solo career didn’t take off in the way that he hoped it would?
From my point of view, when we started playing shows in Japan, half the set was Stones songs. I felt, “What’s the point? Why do that? This is a chance for you to do something different, a solo project. Why not do it solo? Yes, play smaller places, sure. But wouldn’t it actually have a more of a test of time to that?”
Unless, of course, this was part of a master plan to get the Stones into Japan. The problem was, the Stones could not enter Japan because of their drug convictions. By doing this on his own, Mr. Udo of Udo Artists had to pull so many strings to get the government to allow Mick to come into the country. Maybe this was just a ploy to slowly get the Stones there.
Then it happened two years later.
Then it happened. Exactly. Maybe there was purpose to his concept. Of course, that’s his prerogative and totally up to him. But from a purely musical and creative point of view, I found it strange. Why are we playing all these Stones songs? This is your solo career. We did speak about this with Jeff way early, back in 1987. “Why are we doing this? And the band sounds great as a four-piece. Just add a keyboard player and let’s play all the new material.” I think it would have been more interesting and historically it would have made a much bigger stamp.
You played with Bob Dylan in 1991 at the Guitar Greats festival. How was that experience?
[Laughs] Oh, boy. I actually played with Keith Richards there, too. It was the first time I met Keith, and after the Jagger thing, I was a bit nervous to meet him. I thought, “Oh, shit, he doesn’t like us very much.” And Pierre de Beauport, his roadie, said to me, “Come meet him. You’ll love him.” And Keith was a sweetheart. He was totally different than what I thought. I was like, “Wow!” So it was all just hype, just rubbish in the press.
[www.rollingstone.com]
Re: Mick Jagger solo works
Posted by:
Rockman
()
Date: January 22, 2021 00:20
Hey that get Stones inta Japan might
have been the plan
Never thought of it that way .....
ROCKMAN
have been the plan
Never thought of it that way .....
ROCKMAN
Re: Mick Jagger solo works
Posted by:
rollmops
()
Date: January 22, 2021 01:23
If Mick played that many Stones songs in the big places in Japan during his solo tour, it was to make sure the audience would go crazy therefore help make his tour successful. Without those very wellknown songs, I don't think the shows would have sold as well as they did. Maybe I am wrong but it seems that Mick did not take a chance; he played safe in regard of the setlist pleasing musically the paying audience rather than himself. I am tempted to say Mick was not crazy during that tour in Japan, although he was the night he decided to walk through the audience to get to the stage!
Rockandroll,
Mops
Rockandroll,
Mops
Re: Mick Jagger solo works
Posted by:
GasLightStreet
()
Date: January 22, 2021 04:07
Quote
rollmops
If Mick played that many Stones songs in the big places in Japan during his solo tour, it was to make sure the audience would go crazy therefore help make his tour successful. Without those very wellknown songs, I don't think the shows would have sold as well as they did. Maybe I am wrong but it seems that Mick did not take a chance; he played safe in regard of the setlist pleasing musically the paying audience rather than himself. I am tempted to say Mick was not crazy during that tour in Japan, although he was the night he decided to walk through the audience to get to the stage!
Rockandroll,
Mops
The difference between Mick and Keith's solo careers is huge. Simon Phillips nailed it:
From my point of view, when we started playing shows in Japan, half the set was Stones songs. I felt, “What’s the point? Why do that? This is a chance for you to do something different, a solo project. Why not do it solo? Yes, play smaller places, sure. But wouldn’t it actually have a more of a test of time to that?”
Unless, of course, this was part of a master plan to get the Stones into Japan.
Re: Mick Jagger solo works
Posted by:
Hairball
()
Date: January 22, 2021 04:46
"But from a purely musical and creative point of view, I found it strange. Why are we playing all these Stones songs? This is your solo career".
Yep, gotta agree with Simon Phillips - he has the integrity that Mick was lacking at the time.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Yep, gotta agree with Simon Phillips - he has the integrity that Mick was lacking at the time.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Mick Jagger solo works
Posted by:
GasLightStreet
()
Date: January 22, 2021 04:50
Just adds gravity to Keith's 'Mick came running back to the Stones' criticism.
Re: Mick Jagger solo works
Posted by:
Doxa
()
Date: January 22, 2021 10:57
Thank you Christiano for the Simon Phillips interview.
Interesting point that of probably clearing the path for the Stones in Japan. What seemingly Phillips didn't consider in regard to Stones-heavy setlist that it probably wasn't just the visa thing in mind, but also the very substance updated, warmed up for the (possible) upcoming Stones activities. As we know, the future Rolling Stones concert concept was created there. Was he was going to continue the story of the Stones by his own or with the Stones - that was an open question.
Phillips timeline - naturally, recalled years later - is a bit confused, but it adds something to the details we alraedy know. His talk about the the four/five piece band with Beck was supposedly the one that was to tour Europe (and some dates in USA) just after the relaese of PRIMITIVE COOL in September 1987. This tour plan was cancelled alraedy in August, mostly due to Beck calling it quits (issues over money were said to be the reason). It would take almost a half year for the brief Japan 'tour' to take place (March 15-28, 1988). By that time PRIMITIVE COOL was already old news, and by Mick's standards, having flopped badly - of which he mostly have been painfully awere of.
It looks like that within that time frame of six months or so, Mick had made up his mind - his future is with the Stones. Interesting little detail that - according to timeisonourside.com - January 18, 1988 Mick "calls Bill Wyman and asks if he is interested in touring again". That's two months before Japan tour, and even before Mick's solo band - now with Joe Satriani - started rehearsing for the upcoming tour for those few dates in Japan.
Then, after the tour, as timeisonourside.com reports:
May 18, 1988: The Rolling Stones gather for the first time in exactly two years, holding a meeting at the Savoy Hotel in London, England, to discuss their future. Mick Jagger proposes they tour, and Keith Richards gets angry because he is in the midst of his own solo work. They agree in principle to work again together in the near future.
Afterwards Keith apologizes to Mick and it looks like by the autumn The Stones (Mick and Keith) have came to a conclusion that the Stones will roll again in the following year (after Keith finished up his solo album affair). In August Charlie and Ronnie join Mick in his castle to work on demos for the Stones.
Then Mick heads to Australia to tour with his solo band (September 17 -November 5). This is how he explains the situation - and the on-going Keith drama - in September:
When you leave something alone for such a long time, you get out of touch with yourself as a singer and performer. So I decided to see what I could do, and it's worked out quite well. It was pretty hairy in Japan for a moment.
I don't really want to talk about Keith's problems. I'm afraid life isn't quite (as) simple (as me breaking up the Stones). I wanted to take the Stones on the road this year. Keith was too busy, and we talked about doing it next year. That's sort of up in the air for the moment. If the Stones go on stuttering and not really starting, then obviously I'll have to (continue by myself)... Now that I've got the taste of playing onstage again, I'll carry on doing it. If the Stones start up again and everything is a great, fun, pleasurable success, then I won't do so much of it. Who knows?
However, for a reason or other, Keith seemingly gets mad again like a betrayed husband - although this time the reason for Mick fooling around being Keith's own activities...
Great. Go to Australia in their midwinter. Go on. I've got other things to do. Go there. Go there with your jerk-off band. He knows how I feel about it. Whether he'll ever admit it to himself, I don't know. I mean, I'll be totally honest: I LOVE Mick. Most of my efforts with Mick go to trying to open his eyes: You don't need to do this. You have no problem. All you've got to do is just grow up with it. And that's what he should be doing... And I don't him reading this shit, because this is part of, as far as I'm concerned, my attempt to help him along.
Anyway, my picture is that for Mick both the brief Japan affair in March and the 'proper' Australasian tour in Autumn weren't any big adventures of showing artistic integrity, to boost a solo career/PRIMITIVE COOL, but more like getting his shit together again, update his own game, after having been out of stage for many years. It is interesting, like it is strongly indicated, if all that was done an upcoming Stones activities in mind. The visa theory by Phillips adds to the story. I lean on to think that his serious plans, if he ever had any, of a 'solo career' had collapsed by the fail of PRIMITIVE COOL in autumn 2017. Add there Michael Cohl whispering nice things to his ear around the same time...
- Doxa
Edited 4 time(s). Last edit at 2021-01-22 11:10 by Doxa.
Interesting point that of probably clearing the path for the Stones in Japan. What seemingly Phillips didn't consider in regard to Stones-heavy setlist that it probably wasn't just the visa thing in mind, but also the very substance updated, warmed up for the (possible) upcoming Stones activities. As we know, the future Rolling Stones concert concept was created there. Was he was going to continue the story of the Stones by his own or with the Stones - that was an open question.
Phillips timeline - naturally, recalled years later - is a bit confused, but it adds something to the details we alraedy know. His talk about the the four/five piece band with Beck was supposedly the one that was to tour Europe (and some dates in USA) just after the relaese of PRIMITIVE COOL in September 1987. This tour plan was cancelled alraedy in August, mostly due to Beck calling it quits (issues over money were said to be the reason). It would take almost a half year for the brief Japan 'tour' to take place (March 15-28, 1988). By that time PRIMITIVE COOL was already old news, and by Mick's standards, having flopped badly - of which he mostly have been painfully awere of.
It looks like that within that time frame of six months or so, Mick had made up his mind - his future is with the Stones. Interesting little detail that - according to timeisonourside.com - January 18, 1988 Mick "calls Bill Wyman and asks if he is interested in touring again". That's two months before Japan tour, and even before Mick's solo band - now with Joe Satriani - started rehearsing for the upcoming tour for those few dates in Japan.
Then, after the tour, as timeisonourside.com reports:
May 18, 1988: The Rolling Stones gather for the first time in exactly two years, holding a meeting at the Savoy Hotel in London, England, to discuss their future. Mick Jagger proposes they tour, and Keith Richards gets angry because he is in the midst of his own solo work. They agree in principle to work again together in the near future.
Afterwards Keith apologizes to Mick and it looks like by the autumn The Stones (Mick and Keith) have came to a conclusion that the Stones will roll again in the following year (after Keith finished up his solo album affair). In August Charlie and Ronnie join Mick in his castle to work on demos for the Stones.
Then Mick heads to Australia to tour with his solo band (September 17 -November 5). This is how he explains the situation - and the on-going Keith drama - in September:
When you leave something alone for such a long time, you get out of touch with yourself as a singer and performer. So I decided to see what I could do, and it's worked out quite well. It was pretty hairy in Japan for a moment.
I don't really want to talk about Keith's problems. I'm afraid life isn't quite (as) simple (as me breaking up the Stones). I wanted to take the Stones on the road this year. Keith was too busy, and we talked about doing it next year. That's sort of up in the air for the moment. If the Stones go on stuttering and not really starting, then obviously I'll have to (continue by myself)... Now that I've got the taste of playing onstage again, I'll carry on doing it. If the Stones start up again and everything is a great, fun, pleasurable success, then I won't do so much of it. Who knows?
However, for a reason or other, Keith seemingly gets mad again like a betrayed husband - although this time the reason for Mick fooling around being Keith's own activities...
Great. Go to Australia in their midwinter. Go on. I've got other things to do. Go there. Go there with your jerk-off band. He knows how I feel about it. Whether he'll ever admit it to himself, I don't know. I mean, I'll be totally honest: I LOVE Mick. Most of my efforts with Mick go to trying to open his eyes: You don't need to do this. You have no problem. All you've got to do is just grow up with it. And that's what he should be doing... And I don't him reading this shit, because this is part of, as far as I'm concerned, my attempt to help him along.
Anyway, my picture is that for Mick both the brief Japan affair in March and the 'proper' Australasian tour in Autumn weren't any big adventures of showing artistic integrity, to boost a solo career/PRIMITIVE COOL, but more like getting his shit together again, update his own game, after having been out of stage for many years. It is interesting, like it is strongly indicated, if all that was done an upcoming Stones activities in mind. The visa theory by Phillips adds to the story. I lean on to think that his serious plans, if he ever had any, of a 'solo career' had collapsed by the fail of PRIMITIVE COOL in autumn 2017. Add there Michael Cohl whispering nice things to his ear around the same time...
- Doxa
Edited 4 time(s). Last edit at 2021-01-22 11:10 by Doxa.
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