Thinking positively, if are simply enjoying the long drawn out process of creating, we might get an album with 93 songs!

Lol...an Antholgy style Super Duper Deluxe of brand new songs - including demos, outtakes, extended versions, etc!

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

Oh, and according to what was written in the links posted above, there should be also a new live album in time for Christmas (Xmas 2017, mind you!).

Time for a new thread, "Another Stones live album in 2017"? (Shortly to be retitled "... 2018")

Maybe that's the BBC On Air that is released Dec. 1st - just in time for X-mas.

Or would that be considered a compilation? Maybe a combination of both?

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

Quote
doitywoik
Oh, and according to what was written in the links posted above, there should be also a new live album in time for Christmas (Xmas 2017, mind you!).

Time for a new thread, "Another Stones live album in 2017"? (Shortly to be retitled "... 2018")

The «live compilation album», as it was called back then, must be the BBC-sessions release due in a few days.

Guess you're right, guys, the Beeb sessions of course.

My mind was still with the EU tour and I was fancying "Stones Over Europe" or suchlike ... would have committed them to the studio until Xmas Eve (minimally) to get all the necessary overdubs done ... and once in the studio, they could actually also do a little bit of work on ... you know what!

Quote
doitywoik
Guess you're right, guys, the Beeb sessions of course.

My mind was still with the EU tour and I was fancying "Stones Over Europe" or suchlike ... would have committed them to the studio until Xmas Eve (minimally) to get all the necessary overdubs done ... and once in the studio, they could actually also do a little bit of work on ... you know what!

The problem (for some) is that the Stones haven't really done real overdubbing on their live records since No Security. Some even claim that they even didn't do those themselves

Wasn't there The Big Start Me Up Botched Intro Repair Job on the Hyde Park DVD (Sweet Summer Sun)? Or was this also a hired gun giving it a shot?

Although, I must say I really grew to like No Security, definitely one of their better live outings (no matter who played on it ...)

Quote
doitywoik

Quote
bye bye johnny
Thanks, had forgotten about that "news". £2m, according to the Daily Mail.

I must admit, I had forgotten about that, too. Or rather, I had forgotten it was this year only, feels like it was longer ago to me but obviously wasn't...

So looks like Ian *was/is* right in the end (which is not the worst thing).

At any rate, it makes sense now: they just had an unexpectedly successful album of covers out and presumably enough new (and presentable/useful) material in the can to be able to approach prospective business partners and negotiate a deal.

I still believe that Mick is too cautious for making a (possibly risky) deal empty-handed, so one might perhaps conclude that even now there is enough (pre-brick wall hitting, though) material done to fulfill the contract if all other things go wrong. At least, enough material for Mick to go into negotiations confidently.

If memory serves, we have heard quite diverging statements from the band, from "Only a little more work is needed" (can't remember who), to "I hope the blues album leads to reconsidering a few things" (Keith) to "some/much of it will possibly be recorded anew" (Ronnie), and in addition Keith's remarks about being prolific. The latter still seem to me to indicate that Keith is short on the songwriting and doesn't like much of what Mich brought.

However, I don't think the situation is so much different from earlier times. The way I remember things, we always heard that Mick rather brings in complete songs whereas Keith preferred to work out his stuff in the Studio, and outtakes show that they often tried out a number of approaches to a particular song. (And a good deal of fighting was presumably about which version or mix would make it on the album.) What is different this time is possibly that peace is more fragile and they don't want to let things come to a head, and also that noone feels like spending endless time in the studio to work on the material.

Apart from that, I don't see a reason why they shouldn't be able to come up with a bunch of reasonable songs anymore. I just find it a pity - still - that Doom & Gloom was wasted on the Gorilla. What a great album opener that would have been!

A great post, thanks. Among other good points, you brought up some quotes almost ignored in the latest speculation here of 'what's going on'. Add there Jagger's remark that he is interested in trying the 'method' of BLUE & LONESOME into original material (which might coher with Ronnie's suggestion of re-cutting the material they have done so far, and also with Keith's remark that there might be a lesson learned from the blues album)). We - or at least I - speculated with that scenario some time ago here. It will be interseting if they actually have done or going to do something along those lines.

There seems to be two different issues we are reflecting here:

(1) Will there be a new album of originals at all? (And if yes, when?)

(2) How good or bad it turns out to be?

For me the first issue is no problem at all - I am sure - if nothing drastic happens - that the Rolling Stones will release a new album of originals sooner or later (2018). There also seems to that deal with Universal (of which I didn't know), which alone is a kind of guarantee that they will deliver it.

Then the second issue - speculating about material none of us haven't heard yet. Hmm... I will quote another post to reflect that...

- Doxa

Quote
24FPS
I'm not sure they're capable of much more than a simple blues album. Which is fine. They might be able to squeeze out a decent single, but an entire album worth of new, worthy material? From this bunch? Keith's songwriting has nosedived since 'The Worst' in '94. We know their rhythm section is not memorable since about the same time. They record Charlie's cymbals like their trash can lids. Honestly, they could only surprise me, because the studio magic died many years ago. Even Voodoo Lounge was an admitted throwback sound.

I've admittedly not listened to Charlie Watt's jazz albums so I don't know if he's created some substantial music on his own. Ronnie seems to have lost his desire to write and release his own albums. The last great 'Stones' records I heard was 'Warring People' with Mick in the group Superheavy. And Bill Wyman's 'What & How & If & When & Why' off his recent record. (But I understand he most likely won't be on the new album). I skipped through 'Crosseyed Heart' from the library, and never found a song worth listening to. (And yes, I liked Keith in the past).

I think we're asking way too much for a great album from what's left of the Stones at this point. We should expect little, so that maybe, just maybe, we could be pleasantly surprised.

A bit pessimistic picture you have here, 24FPS. And I need to add I can't really disagree with many of those points.

But my take is still a bit more optimistic. My time of reference is bit shorter, though.

(1) CROSSEYED HEART proved that Keith still have the unique 'feel'. A necessary component for a good Stones relaese.

(2) "Gotta Get A Grip" proved that Mick still has the 'drive'. A necessary element for a good Stones release.

(3) BLUE & LONESOME proved that the band still 'got it' - they can make very enjoyable noise together if their mind is in it. A necessary component for a good Stones release

Of course, none of this guarantees any great new STones album, or how to make those elements 'match', but I think - optimistically - that there are some good signals now. Of course, the expectations should be realistic now - for me a better album than A BIGGER BANG would be a big win (so I think along the lines of 24FPS - "We should expect little, so that maybe, just maybe, we could be pleasantly surprised").

But funny thing about creativity is that is not predictable - anything can happen. Even miracles. So I think no reason to be too pessimistic... Let's bash it when it is relaesed - not before!

- Doxa

Quote
Doxa
Add there Jagger's remark that he is interested in trying the 'method' of BLUE & LONESOME into original material

Another one that seems to have escaped me completely! If even Jagger thinks this way there should at least be a basic consensus among the powers that be as to the approach to be taken. Things could be worse, indeed.

In this regard, perhaps one shouldn’t fully rule out the possibility that hitting the meanwhile famous brick wall back dunnowhen doesn’t necessarily mean they were at loggerheads. Might as well have been a peaceful affair where everybody came to the conclusion that something didn’t just work out quite the right way. Kind of, let’s all take a step back and then look again at what we’ve got.

If B&L should indeed serve as a blueprint in some way, I would expect minimally a rather “natural” sounding album, i.e. not over-produced, not as “chemical” and “locked-in” as ABB, and no stuff like Might As Well Get Juiced on it. (On a personal side note, I’d also be grateful if Keith would spare us the obligatoty reggae this time, but who am I to decide …)

Quote
Doxa
(2) How good or bad it turns out to be?
…
Then the second issue - speculating about material none of us haven't heard yet.

That’s of course true! It’s all speculation so far, and what little we have heard about (*about*, not *of*) the new material doesn’t really make things better. The only things I remember having read is that there’s a great soul tune (whatever that means in a Stones context), and one of the posters above has been told - by someone who has heard the new stuff - that he would like at least half of it …

I think the latter point will hold for everybody here: everyone will certainly find at least half of the new album OK (not really a risky speculation ) - who will like which half, we have yet to find out, and will when the album is finally out. I’m confident enough to assume the Stones won’t deliver a complete bummer. But what’s good or bad is a matter of personal choice - not really a great insight, rather a pretty natural thing.

Just recalling the various comments on the EU tour, which have taught me one thing: One man’s train wreck is another man’s gem …

Quote
Doxa
Let's bash it when it is released - not before!

Great words calmly spoken! We all should be able to agree here.

Quote
doitywoik
Wasn't there The Big Start Me Up Botched Intro Repair Job on the Hyde Park DVD (Sweet Summer Sun)? Or was this also a hired gun giving it a shot?

It was a copy/paste from another part of the song.

Quote
Doxa
... Jagger's remark that he is interested in trying the 'method' of BLUE & LONESOME into original material...

Mick must truly have a spotty memory because it's essentially how they recorded SOME GIRLS and a few others, if what by 'method' is meant "in a room together".

Quote
GasLightStreet

Quote
Doxa
... Jagger's remark that he is interested in trying the 'method' of BLUE & LONESOME into original material...

Mick must truly have a spotty memory because it's essentially how they recorded SOME GIRLS and a few others, if what by 'method' is meant "in a room together".

Basically all of their 60's material was recorded that way - with very few overdubs due to the lack of multitrack space. With the ever-increasing development of multitracking, overdubbing gradually took over. But from my understanding, at least the recording of basic tracks "all together at once" (not necessarily in the same room!) stayed the norm until overdubbing Mick's demos came into the picture.

Yep.

Even STEEL WHEELS they were all in the same room. Obviously not ALL of them the entire time - just as with other albums - but in general. For A BIGGER BANG they were in a living room together.

Not sure if that's what Mick means. Perhaps he's leaning more towards the 'do a few takes and move on' mentality.

Quote
retired_dog

Quote
GasLightStreet

Quote
Doxa
... Jagger's remark that he is interested in trying the 'method' of BLUE & LONESOME into original material...

Mick must truly have a spotty memory because it's essentially how they recorded SOME GIRLS and a few others, if what by 'method' is meant "in a room together".

Basically all of their 60's material was recorded that way - with very few overdubs due to the lack of multitrack space. With the ever-increasing development of multitracking, overdubbing gradually took over. But from my understanding, at least the recording of basic tracks "all together at once" (not necessarily in the same room!) stayed the norm until overdubbing Mick's demos came into the picture.

_____________________________________


I am very sure they are not simply overdubbing on top of Micks Demos. People (Mick) make songs electronically ... The band works them out... Keith adds his bit.. Charlie may add his. Sometimes not much is added. At others the song is changed considerably. Someone arranges the song 'arrangement'.

The band then re-records the songs. That would be what happens with Micks 'demos'. It's not like Mick just brings in songs and they play over top of them or add the odd guitar part in an overdubb and go to the next lol

Right.

They may "finish" the demos (highly unlikely) by adding to them but they don't use the demos as the bottoms for the track(s).

Quote
GasLightStreet

Quote
doitywoik
Wasn't there The Big Start Me Up Botched Intro Repair Job on the Hyde Park DVD (Sweet Summer Sun)? Or was this also a hired gun giving it a shot?

It was a copy/paste from another part of the song.

OK, thanks!

Quote
IanBillen
I am very sure they are not simply overdubbing on top of Micks Demos. People (Mick) make songs electronically ... The band works them out...
The band then re-records the songs. That would be what happens with Micks 'demos'.

I remember a Mick/Keith interview in Rolling Stone (albeit in German) from the time when ABB came out. There they said most of everything was done in Mick's house (using Mick's home studio & software). Also that the drums were played by Mick because Charlie was just going through his cancer treatment, and Ronnie only added a few bits later on (slide). Dunno how much was lost (or fabricated) in translation, but wouldn't seem all to unlikely to me either.
Anyway, if the 'method' is working on the songs together there's a chance that input come from more than one side (for better or worse).
Once the album is out we'll certainly get a ton of interviews with every possible version of how how the recording process went being told (and yet some) ....

Maybe that's a bit OT now but I am just remembering a Keith interview re ABB where Keith claimed that he was the one who introduced Mick to the world of recording and editing software, claiming Mick had no idea all that existed ... good one! LOL

Time waits for no one,i am waiting,i am waiting roll 2018 album will be out before the tour may or june,yeaaaaaaaa

Quote
Doxa

Quote
24FPS
I'm not sure they're capable of much more than a simple blues album. Which is fine. They might be able to squeeze out a decent single, but an entire album worth of new, worthy material? From this bunch? Keith's songwriting has nosedived since 'The Worst' in '94. We know their rhythm section is not memorable since about the same time. They record Charlie's cymbals like their trash can lids. Honestly, they could only surprise me, because the studio magic died many years ago. Even Voodoo Lounge was an admitted throwback sound.

I've admittedly not listened to Charlie Watt's jazz albums so I don't know if he's created some substantial music on his own. Ronnie seems to have lost his desire to write and release his own albums. The last great 'Stones' records I heard was 'Warring People' with Mick in the group Superheavy. And Bill Wyman's 'What & How & If & When & Why' off his recent record. (But I understand he most likely won't be on the new album). I skipped through 'Crosseyed Heart' from the library, and never found a song worth listening to. (And yes, I liked Keith in the past).

I think we're asking way too much for a great album from what's left of the Stones at this point. We should expect little, so that maybe, just maybe, we could be pleasantly surprised.

A bit pessimistic picture you have here, 24FPS. And I need to add I can't really disagree with many of those points.

But my take is still a bit more optimistic. My time of reference is bit shorter, though.

(1) CROSSEYED HEART proved that Keith still have the unique 'feel'. A necessary component for a good Stones relaese.

(2) "Gotta Get A Grip" proved that Mick still has the 'drive'. A necessary element for a good Stones release.

(3) BLUE & LONESOME proved that the band still 'got it' - they can make very enjoyable noise together if their mind is in it. A necessary component for a good Stones release

Of course, none of this guarantees any great new STones album, or how to make those elements 'match', but I think - optimistically - that there are some good signals now. Of course, the expectations should be realistic now - for me a better album than A BIGGER BANG would be a big win (so I think along the lines of 24FPS - "We should expect little, so that maybe, just maybe, we could be pleasantly surprised").

But funny thing about creativity is that is not predictable - anything can happen. Even miracles. So I think no reason to be too pessimistic... Let's bash it when it is relaesed - not before!

- Doxa

But you admit you can't really disagree with my points. And basically I'm paraphrasing Benjamin Franklin, 'Expect the worst, then you can only be pleasantly surprised.'


Can Keith still play good, funky rhythm guitar? It was always his fills that mattered, and I'm not sure he adds much to a record anymore. Blue & Lonesome is almost all Ronnie (& Clapton) and Mick, and some good Charlie. Keith doesn't even sing on any of the tracks, which shocked me. I always thought that was contractual. And since they are loathe to bring in outside musicians on an album of originals, I don't see the old Stones magic being reignited. (Which was with Clapton on B&L).

Those that are happy with an album that sounds like a weak echo of the past are the same ones that rejoice when they get through a stage song now without messing it up. Steel Wheels is being revealed with time as their true swan song, with Slipping Away their coda. I'm not saying it all fell apart because Bill split, but he definitely saw the writing on the wall. I'm really looking forward to the On The Air CD. Hell, Rolling Stone magazine may not even last long enough to have their newest album be hailed as,'Their greatest since Exile'.

No fan wants more great Stones music than I. But I rarely, if ever, put on Voodoo, Bridge, or Bang. But I do play Blue & Lonesome. I can forgive the pedestrian bass, just to hear some low down dirty blues.

Quote
doitywoik

Quote
GasLightStreet

Quote
doitywoik
Wasn't there The Big Start Me Up Botched Intro Repair Job on the Hyde Park DVD (Sweet Summer Sun)? Or was this also a hired gun giving it a shot?

It was a copy/paste from another part of the song.

OK, thanks!

Quote
IanBillen
I am very sure they are not simply overdubbing on top of Micks Demos. People (Mick) make songs electronically ... The band works them out...
The band then re-records the songs. That would be what happens with Micks 'demos'.

I remember a Mick/Keith interview in Rolling Stone (albeit in German) from the time when ABB came out. There they said most of everything was done in Mick's house (using Mick's home studio & software). Also that the drums were played by Mick because Charlie was just going through his cancer treatment, and Ronnie only added a few bits later on (slide). Dunno how much was lost (or fabricated) in translation, but wouldn't seem all to unlikely to me either.
Anyway, if the 'method' is working on the songs together there's a chance that input come from more than one side (for better or worse).
Once the album is out we'll certainly get a ton of interviews with every possible version of how how the recording process went being told (and yet some) ....

Maybe that's a bit OT now but I am just remembering a Keith interview re ABB where Keith claimed that he was the one who introduced Mick to the world of recording and editing software, claiming Mick had no idea all that existed ... good one! LOL

________________________________


They recorded much of it at Micks house BUT ... Mick only played drums until Charlie was fully recovered lol. Mick Jagger >>certainly<< didn't play on the tracks on the album (except for possibly one track which is 'Back of My Hand') ... Some bits were kept in that (Micks) honor for his effort until Charlie could get there. Mick Jagger was quoted as to saying "only a few hits actually made it to the record..the rest is all Charlie'.


They recorded to hard disc on laptops .. using Pro Tools (I know they were using Apple / Mac laptops but can only assume it was Pro Tools as their DAW software). The Stones played all in a room. The plan was to eventually move to a studio. Keith convinced Mick to keep it going and stay there after they only initially met there to write songs ... because they (the band) were sounding very good playing together right then and there in that room. In Charlies words 'Well We had a very good sounding room..." (It was not a real large room either).

Ronnie came late and overdubbed his parts on several songs. By no means did they simply overdub everything at Micks house on Micks demos.


(I know all this because I've thoroughly researched how this album was conceived and made and where). They did many of the 'overdubs' in LA at a studio.



Edited 5 time(s). Last edit at 2017-11-23 00:28 by IanBillen.

Regarding ABB - there's a whole slew of Mick and Keith blurbs about it right here> A Bigger Bang

After reading 99% of those, you'd think it was one of their best albums since Exile (there's even mention of that in there somewhere)...until you get to the final quote from Keith:

"There's some good stuff on there, but I don't know... There's something about the way it holds together, for me.
I don't know if we got the tracks in the right order or something like that. Sometimes, it can make the difference on a record, the way it flows. But I enjoyed making it very much".
- Keith Richards, September 2015

Seems he's second guessing the overall quality, and while he enjoyed the process of making it, maybe the album as a whole just didn't age well for him.

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

Quote
Hairball
Regarding ABB - there's a whole slew of Mick and Keith blurbs about it right here> A Bigger Bang

After reading 99% of those, you'd think it was one of their best albums since Exile (there's even mention of that in there somewhere)...until you get to the final quote from Keith:

"There's some good stuff on there, but I don't know... There's something about the way it holds together, for me.
I don't know if we got the tracks in the right order or something like that. Sometimes, it can make the difference on a record, the way it flows. But I enjoyed making it very much".
- Keith Richards, September 2015

Seems he's second guessing the overall quality, and while he enjoyed the process of making it, maybe the album as a whole just didn't age well for him.

ABB has too much filler on it, too many songs, after Rain Fall Down the album is hit and miss, it doesn't flow very well.

Rough Justice
Let Me Down Slow
It Won't Take Long
Rain Fall Down
This Place Is Empty
Under The Radar
Oh No, Not You Again
Dangerous Beauty
Laugh I Nearly Died
Driving Too Fast

That's a great 10 song - 40 minutes album, if flows well, sadly on the CD era you have to put extra songs on it so there is it.

Quote
georgelicks

Quote
Hairball
Regarding ABB - there's a whole slew of Mick and Keith blurbs about it right here> A Bigger Bang

After reading 99% of those, you'd think it was one of their best albums since Exile (there's even mention of that in there somewhere)...until you get to the final quote from Keith:

"There's some good stuff on there, but I don't know... There's something about the way it holds together, for me.
I don't know if we got the tracks in the right order or something like that. Sometimes, it can make the difference on a record, the way it flows. But I enjoyed making it very much".
- Keith Richards, September 2015

Seems he's second guessing the overall quality, and while he enjoyed the process of making it, maybe the album as a whole just didn't age well for him.

ABB has too much filler on it, too many songs, after Rain Fall Down the album is hit and miss, it doesn't flow very well.

Rough Justice
Let Me Down Slow
It Won't Take Long
Rain Fall Down
This Place Is Empty
Under The Radar
Oh No, Not You Again
Dangerous Beauty
Laugh I Nearly Died
Driving Too Fast

That's a great 10 song - 40 minutes album, if flows well, sadly on the CD era you have to put extra songs on it so there is it.

That list of yours definitely might have helped, but for me the only ones that "stuck" were:

Rain Fall Down: Kind of a Hot Stuff pt. II - my wife liked dancing to it when I was trying to digest and absorb the album the first few weeks, and to see it played live was nice.
Laugh I Nearly Died - Haven't heard it in a LONG time, but recall enjoying it for a little while after it was released.
This Place Is Empty - the obligatory Keith...much better than Infamy imo.

That's about it as the rest sounds a bit cartoonish...cliche-ridden...faux- Stonesy imo. Wish I would have liked it more - haven't listened to it start to finish since 2005.
Occasionally a local radio station plays Rain Fall Down (!) which always catches me off guard - must be one of that particular dj's favorite latter day Stones tunes.

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

We're talking about an average album, maybe the first generic Stones album, not many quality songs on it and too much Stones by the numbers, but that tracklist of 10 songs flows well, but always on a 5/10 or 6/10 rank.

Quote
GasLightStreet
Yep.

Even STEEL WHEELS they were all in the same room. Obviously not ALL of them the entire time - just as with other albums - but in general. For A BIGGER BANG they were in a living room together.

Not sure if that's what Mick means. Perhaps he's leaning more towards the 'do a few takes and move on' mentality.

I tried to found that Jagger exact quote, but it is lost in the bit universe I guess. If memory serves, he talked about the "approach" of BLUE & LONESOME.

But yeah, I think the idea he means is basically 'do a few takes and move on' - quick and effective. Not like they used to in Pathe Marconi - jam/play the song as many (long) takes it is needed to get the right 'feel'- and then edit it heavily to a suitable form to be released (add some over-dubs, and that's it). And definitely not the way Keith Richards still, at least in his talks, likes to do: hit to the studio with nothing but a riff in hand and then start building up the song little by little from that base by the interaction of the whole band (ending up Jagger shaping the melody and writing the final lyrics). For some reason Jagger seems to dislike that kind of time-consuming approach, no matter that teh Stones a long time ago achieved marvellous results with that.

Surely the idea is that the whole band is in the same room (but like pointed out here above, that's nothing extraordinary but the way the Stones generally work). My guess is that the 'BLUE & LONESOME approach' means that the songs are pretty well-shaped before entering the studio - like is with the covers - which is to say everyone has done his 'homework' and knows about exactly what one is going to do. Thereby it is possible to record those songs quickly and effectively - and sound fresh and cohesive, as they did with BLUE & LONESOME. This at least seems to cohere with Jagger's tendency to prefer writing the songs properly beforehand (before hitting the studio). Will the 'already written' songs in question be 'Mick's Demos' or probably the already recorded material (like Ronnie seemed to hint), or even some 'none yet introduced to others' Jagger/Richards colloborations (didn't Mick and Keith spend a week by themselves in the studio in the beginning of the year?), we can only guess.

But all of this seem to clash with Keith's preferences.. His angry comment last winter seemed to hint that he is not too inspired adding his bit to "Mick's Demos". Keith seems prefer seeing the creative process (in shaping the song) happening spontaneusly in the studio, so I guess for him it doesn't matter if the question is adding or re-creating some parts to a demo serving as a backing track or learning the song by heart (by listening to a demo) before hitting the studio. Both of them would mean that his creative input would be rather minimal. I think one reason why Keith's contribution is seen by many being rather minimal in BLUE & LONESOME is the way the album was done. There was no room - or time - for Keith's typical studio experiments (which always seem to ask time - and patience from the others... Especially Mick seems to get more and more non-patient the older he gets; even already at the time of STICKY FINGERS he was in public (half-jokingly) critizing the 'starting from the scratch' and endless jamming method of theirs in some songs, but at that time - and for the years to come - he still sounded accepting the deal since by it they achieved great results and, no doubt, that was just the way they worked).

But this was just a fan boy speculation and 'food for thought' based on a very few facts. Whatever happens in the kitchen doesn't really mean anything if the meal just tastes good...

- Doxa



Edited 2 time(s). Last edit at 2017-11-23 08:29 by Doxa.

They were playing and recording that way on Flip The Switch as well, according to Teddy.

Quote
24FPS
...Benjamin Franklin, 'Expect the worst, then you can only be pleasantly surprised.'

Ha! Now it's revealed where Zappa stole it! FZ's version was of course more adult-oriented w.r.t. the wording ...

Dear Stones, please take your time. Never mind some posts on this site. Really am looking forward to new stuff, enjoyed the European tour and praying for some great gigs in the UK (Wales especially)

One Love
Jeroen

Quote
Doxa
Surely the idea is that the whole band is in the same room (but like pointed out here above, that's nothing extraordinary but the way the Stones generally work).

Don Was said someplace how surprised he was the first time he worked with the Stones. He was so used to contemporary recording techniques that he couldn't get over how they actually sat in a room together and played the song!