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doitywoik
I remember reading a long piece about Rubin's work with Black Sabbath on "13", which rather resembled a prolongued reviewing procedure (as e.g. in publishing), thus "homework" and constant urging to change or revise things indeed! It possibly wouldn't hurt the Stones to undergo such a procedure - but (me thinks) they would never accept it.

Rubin seems to focus a lot on his "vision" of what a band is really about, and I can well imagine that Mick's and Rubin's visions are quite different (yet Rubin's vision might be closer to Keith's).

I'm not so sure about Chris Kimsey. He did a great job on Tattoo You but was also behind Honk and Grrr.

Kimsey was only credited for his previous work that ended up on those compilations, methinks. Don't think he has worked with the Stones since 1989?

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DandelionPowderman

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doitywoik
I remember reading a long piece about Rubin's work with Black Sabbath on "13", which rather resembled a prolongued reviewing procedure (as e.g. in publishing), thus "homework" and constant urging to change or revise things indeed! It possibly wouldn't hurt the Stones to undergo such a procedure - but (me thinks) they would never accept it.

Rubin seems to focus a lot on his "vision" of what a band is really about, and I can well imagine that Mick's and Rubin's visions are quite different (yet Rubin's vision might be closer to Keith's).

I'm not so sure about Chris Kimsey. He did a great job on Tattoo You but was also behind Honk and Grrr.

Kimsey was only credited for his previous work that ended up on those compilations, methinks. Don't think he has worked with the Stones since 1989?

That's correct.

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DandelionPowderman

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doitywoik
I remember reading a long piece about Rubin's work with Black Sabbath on "13", which rather resembled a prolongued reviewing procedure (as e.g. in publishing), thus "homework" and constant urging to change or revise things indeed! It possibly wouldn't hurt the Stones to undergo such a procedure - but (me thinks) they would never accept it.

Rubin seems to focus a lot on his "vision" of what a band is really about, and I can well imagine that Mick's and Rubin's visions are quite different (yet Rubin's vision might be closer to Keith's).

I'm not so sure about Chris Kimsey. He did a great job on Tattoo You but was also behind Honk and Grrr.

Kimsey was only credited for his previous work that ended up on those compilations, methinks. Don't think he has worked with the Stones since 1989?

He was on FlashPoint as well. A natural end as it was the concert album for Steel Wheels. Thereafter Don Was.

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mtaylor

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DandelionPowderman

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doitywoik
I remember reading a long piece about Rubin's work with Black Sabbath on "13", which rather resembled a prolongued reviewing procedure (as e.g. in publishing), thus "homework" and constant urging to change or revise things indeed! It possibly wouldn't hurt the Stones to undergo such a procedure - but (me thinks) they would never accept it.

Rubin seems to focus a lot on his "vision" of what a band is really about, and I can well imagine that Mick's and Rubin's visions are quite different (yet Rubin's vision might be closer to Keith's).

I'm not so sure about Chris Kimsey. He did a great job on Tattoo You but was also behind Honk and Grrr.

Kimsey was only credited for his previous work that ended up on those compilations, methinks. Don't think he has worked with the Stones since 1989?

He was on FlashPoint as well. A natural end as it was the concert album for Steel Wheels. Thereafter Don Was.

Oh right. Eh... silly little tracks on a live album. I've been listening to FLASHPOINT a bit recently.

If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album. I would favour Rubin, but I guess that won't happen.
Maybe this Nick Rasculinez or whats his name would be an idea? Or Kevin Shirley? To give things a slightly more rocky tinge.

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album. I would favour Rubin, but I guess that won't happen.
Maybe this Nick Rasculinez or whats his name would be an idea? Or Kevin Shirley? To give things a slightly more rocky tinge.

Kimsey did a great job with STEEL WHEELS. He can't help the technology that is used.

Look at how many Stones albums he's worked on: he co-produced TATTOO YOU and helped produce UNDERCOVER, STEEL WHEELS and FLASHPOINT. He engineered some of STICKY FINGERS, SOME GIRLS and EMOTIONAL RESCUE.

He would be a fine choice... if he was even interested.

What about British producer Glyn Johns?
He has worked with The Stones before...and most recently on Clapton's last studio album.

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GasLightStreet

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album. I would favour Rubin, but I guess that won't happen.
Maybe this Nick Rasculinez or whats his name would be an idea? Or Kevin Shirley? To give things a slightly more rocky tinge.

Kimsey did a great job with STEEL WHEELS. He can't help the technology that is used.

Look at how many Stones albums he's worked on: he co-produced TATTOO YOU and helped produce UNDERCOVER, STEEL WHEELS and FLASHPOINT. He engineered some of STICKY FINGERS, SOME GIRLS and EMOTIONAL RESCUE.

He would be a fine choice... if he was even interested.

Of course a producer can help the technology being used. Perhaps not the actual studio machines but certainly the instruments, the choices in sound etc. I have dozens if not hundreds of albums produced during the 80s that don't sound 'locked in the 80s' as SW does (to a certain extent, let's not exaggerate, on the whole SW sounds ok alright). His work on the earlier Stones albums is superb, that's just my point: if only he had managed to make SW sound quite like the Stones again. But he didn't quite succeed (for whatever reason), just as Don Was doesn't (for whatever reason). In other words, I don't think Kimsey did a better job on SW than Was on VL - Blu&Lo, and that was, I believe, the reason why we were discussing producers here.



Edited 1 time(s). Last edit at 2019-09-08 22:31 by SomeGuy.

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DandelionPowderman
Kimsey was only credited for his previous work that ended up on those compilations, methinks. Don't think he has worked with the Stones since 1989?

Could be correct. His last regular albums for the Stones were Steel Wheels and Flashpoint (from Voodoo Lounge on it was DW). I thought they perhaps brought him in again for the compilations but him being listed only because he produced the original tracks (i.e. of albums where he was involved) makes good sense.



Edited 1 time(s). Last edit at 2019-09-08 23:10 by doitywoik.

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Doxa

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doitywoik
I guess the "problem" with Don Was is that both Mick and Keith seem to get along with him and so he's someone (the only one?) both can agree on.

It could be yeah, but I have the picture that Don Was shares more Keith's vision of Stones music than Mick's. For example, for Mick's taste VOODOO LOUNGE was too "retro" and "Was trying to create his own EXILE" (and not following MIck's more 'experimental' ideas) or what did he say. Then for BRIDGES TO BABYLON he used different co-producers. Then later, according to Keith, Mick wanted to re-record (or do something for) A BIGGER BANG in a more proper studio, but he and Don Was were opposing that and out-voted Mick, as they liked the album's raw feel.

So in the end, if Rick Rubin can be seen as a model for keeping Mick more 'Stonesy', I don't think Don Was is that different at all. But seemingly Mick rates Don's opinion rather high. I mean, if he wouldn't, Don Was would not be there. As a mark of Mick and Keith trusting Don Was knowing how the classic Stones should sound like, he is the trusted man to take of the vaults releases, such as, understanding the soundscape of, say, EXILE or SOME GIRLS eras. People here are pretty hard on Don Was, but I think he has a pretty conventional and conservative idea of how the Stones should sound like, not drastically differing from the ideals of many hardcore fans here.

- Doxa

Yeah, I think that's pretty accurate.

there were some highlights on ABB though: It won't take long, Rain Fall Down And Laugh I Nearly Died (and a few others).

I think that Gotta Get a Grip is very promissing (and I would have loved that on the forthcoming album) - and I hope something new like that will occur. Bridges to Babylon was not coherent, but interesting - and highlights like Saint of me and Out of control were just pure gold. And would have been live war horses, if they didn't have so many other war horses.

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SomeGuy

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GasLightStreet

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album. I would favour Rubin, but I guess that won't happen.
Maybe this Nick Rasculinez or whats his name would be an idea? Or Kevin Shirley? To give things a slightly more rocky tinge.

Kimsey did a great job with STEEL WHEELS. He can't help the technology that is used.

Look at how many Stones albums he's worked on: he co-produced TATTOO YOU and helped produce UNDERCOVER, STEEL WHEELS and FLASHPOINT. He engineered some of STICKY FINGERS, SOME GIRLS and EMOTIONAL RESCUE.

He would be a fine choice... if he was even interested.

Of course a producer can help the technology being used. Perhaps not the actual studio machines but certainly the instruments, the choices in sound etc. I have dozens if not hundreds of albums produced during the 80s that don't sound 'locked in the 80s' as SW does (to a certain extent, let's not exaggerate, on the whole SW sounds ok alright). His work on the earlier Stones albums is superb, that's just my point: if only he had managed to make SW sound quite like the Stones again. But he didn't quite succeed (for whatever reason), just as Don Was doesn't (for whatever reason). In other words, I don't think Kimsey did a better job on SW than Was on VL - Blu&Lo, and that was, I believe, the reason why we were discussing producers here.

Absolutely. In the pre-brickwalling days... STEEL WHEELS is possibly their most sterile sounding LP yet it does sound "good", it just isn't great - it's too clean. EMOTIONAL RESCUE is "too clean" yet I think it sounds great and has the sound quality of LIB, which is exceptional (as is SF and EOMS).

It's a bit flat. The mix could've helped with that.

I agree with what you said, and that's just it: the best quality amps, or really awful dumpy but excellent sounding amps, great drums and on and on... will not necessarily sound great on tape - or digital - due to what's going on to get it there. Kimsey dealt with what he had to work with and I'm pretty sure no one ever says "Well, I can't do my best" when I'm pretty sure they always do their best...

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SomeGuy

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GasLightStreet

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album. I would favour Rubin, but I guess that won't happen.
Maybe this Nick Rasculinez or whats his name would be an idea? Or Kevin Shirley? To give things a slightly more rocky tinge.

Kimsey did a great job with STEEL WHEELS. He can't help the technology that is used.

Look at how many Stones albums he's worked on: he co-produced TATTOO YOU and helped produce UNDERCOVER, STEEL WHEELS and FLASHPOINT. He engineered some of STICKY FINGERS, SOME GIRLS and EMOTIONAL RESCUE.

He would be a fine choice... if he was even interested.

Of course a producer can help the technology being used. Perhaps not the actual studio machines but certainly the instruments, the choices in sound etc. I have dozens if not hundreds of albums produced during the 80s that don't sound 'locked in the 80s' as SW does (to a certain extent, let's not exaggerate, on the whole SW sounds ok alright). His work on the earlier Stones albums is superb, that's just my point: if only he had managed to make SW sound quite like the Stones again. But he didn't quite succeed (for whatever reason), just as Don Was doesn't (for whatever reason). In other words, I don't think Kimsey did a better job on SW than Was on VL - Blu&Lo, and that was, I believe, the reason why we were discussing producers here.

___________________________________


I agree. It's not an opinion .. it's a fact... >> The producer of an album can help (or not help) anything and everything when it comes tomaking an album. He (or she) can select / or persuade to use the gear to use .. the microphones / their placement .. the studio .. the engineer .. everything. From the gear to choosing the session musicians ... to selecting the right takes .. to setting what gets recorded and in what order ... and where ... to creating or selecting the certain sonic vibe ... everything .. right down to helping the writing of the song itself, yo.

I'm not saying he or she always has a hand in all of that .. but it's wide open for them. If the producer cannot help (or choose to select a different piece of gear of recording process) who the hell can?? Remember he (or she) is IN CHARGE of the recording process of the record and is the one responsible for delivering the final result to the the label.

Now ... keep in mind ... in The Stones case The Stones more than likely had as much say (or almost as much) bc of who they are I'm quite sure .. Still YES he (or she) certainly the hell can or could of stepped in to change (or voice his or her heavily weighted opinion in what is occurring in the studio).



Edited 5 time(s). Last edit at 2019-09-09 05:22 by IanBillen.

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IanBillen

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SomeGuy

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GasLightStreet

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album. I would favour Rubin, but I guess that won't happen.
Maybe this Nick Rasculinez or whats his name would be an idea? Or Kevin Shirley? To give things a slightly more rocky tinge.

Kimsey did a great job with STEEL WHEELS. He can't help the technology that is used.

Look at how many Stones albums he's worked on: he co-produced TATTOO YOU and helped produce UNDERCOVER, STEEL WHEELS and FLASHPOINT. He engineered some of STICKY FINGERS, SOME GIRLS and EMOTIONAL RESCUE.

He would be a fine choice... if he was even interested.

Of course a producer can help the technology being used. Perhaps not the actual studio machines but certainly the instruments, the choices in sound etc. I have dozens if not hundreds of albums produced during the 80s that don't sound 'locked in the 80s' as SW does (to a certain extent, let's not exaggerate, on the whole SW sounds ok alright). His work on the earlier Stones albums is superb, that's just my point: if only he had managed to make SW sound quite like the Stones again. But he didn't quite succeed (for whatever reason), just as Don Was doesn't (for whatever reason). In other words, I don't think Kimsey did a better job on SW than Was on VL - Blu&Lo, and that was, I believe, the reason why we were discussing producers here.

___________________________________


I agree. It's not an opinion .. it's a fact... >> The producer of an album can help (or not help) anything and everything when it comes tomaking an album. He (or she) can select / or persuade to use the gear to use .. the microphones / their placement .. the studio .. the engineer .. everything. From the gear to choosing the session musicians ... to selecting the right takes .. to setting what gets recorded and in what order ... and where ... to creating or selecting the certain sonic vibe ... everything .. right down to helping the writing of the song itself, yo.

I'm not saying he or she always has a hand in all of that .. but it's wide open for them. If the producer cannot help (or choose to select a different piece of gear of recording process) who the hell can?? Remember he (or she) is IN CHARGE of the recording process of the record and is the one responsible for delivering the final result to the the label.

Now ... keep in mind ... in The Stones case The Stones more than likely had as much say (or almost as much) bc of who they are I'm quite sure .. Still YES he (or she) certainly the hell can or could of stepped in to change (or voice his or her heavily weighted opinion in what is occurring in the studio).

I understand all of that. What I meant was, because the way it was recorded and the technology was brand new or quite new that was used to record the album, perhaps Kimsey wasn't able to have much control over it as digital recording is now. It certainly can't be the result of the Neve board. I hazily recall an article in some music mag, probably Guitar Player, about how this was the first time the Stones used digital tape. It was mixed at Olympic. Maybe at the time it was hailed as an improvement but from what I've found regarding the Mitsubishi X850 digital tape recorder, they were awful and are obsolete and would make great boat anchors.

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GasLightStreet

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IanBillen

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SomeGuy

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GasLightStreet

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album. I would favour Rubin, but I guess that won't happen.
Maybe this Nick Rasculinez or whats his name would be an idea? Or Kevin Shirley? To give things a slightly more rocky tinge.

Kimsey did a great job with STEEL WHEELS. He can't help the technology that is used.

Look at how many Stones albums he's worked on: he co-produced TATTOO YOU and helped produce UNDERCOVER, STEEL WHEELS and FLASHPOINT. He engineered some of STICKY FINGERS, SOME GIRLS and EMOTIONAL RESCUE.

He would be a fine choice... if he was even interested.

Of course a producer can help the technology being used. Perhaps not the actual studio machines but certainly the instruments, the choices in sound etc. I have dozens if not hundreds of albums produced during the 80s that don't sound 'locked in the 80s' as SW does (to a certain extent, let's not exaggerate, on the whole SW sounds ok alright). His work on the earlier Stones albums is superb, that's just my point: if only he had managed to make SW sound quite like the Stones again. But he didn't quite succeed (for whatever reason), just as Don Was doesn't (for whatever reason). In other words, I don't think Kimsey did a better job on SW than Was on VL - Blu&Lo, and that was, I believe, the reason why we were discussing producers here.

___________________________________


I agree. It's not an opinion .. it's a fact... >> The producer of an album can help (or not help) anything and everything when it comes tomaking an album. He (or she) can select / or persuade to use the gear to use .. the microphones / their placement .. the studio .. the engineer .. everything. From the gear to choosing the session musicians ... to selecting the right takes .. to setting what gets recorded and in what order ... and where ... to creating or selecting the certain sonic vibe ... everything .. right down to helping the writing of the song itself, yo.

I'm not saying he or she always has a hand in all of that .. but it's wide open for them. If the producer cannot help (or choose to select a different piece of gear of recording process) who the hell can?? Remember he (or she) is IN CHARGE of the recording process of the record and is the one responsible for delivering the final result to the the label.

Now ... keep in mind ... in The Stones case The Stones more than likely had as much say (or almost as much) bc of who they are I'm quite sure .. Still YES he (or she) certainly the hell can or could of stepped in to change (or voice his or her heavily weighted opinion in what is occurring in the studio).

I understand all of that. What I meant was, because the way it was recorded and the technology was brand new or quite new that was used to record the album, perhaps Kimsey wasn't able to have much control over it as digital recording is now. It certainly can't be the result of the Neve board. I hazily recall an article in some music mag, probably Guitar Player, about how this was the first time the Stones used digital tape. It was mixed at Olympic. Maybe at the time it was hailed as an improvement but from what I've found regarding the Mitsubishi X850 digital tape recorder, they were awful and are obsolete and would make great boat anchors.

_____________________________________________


Oh ... I see. Now I understand ... Well yes I 'think'I remember seeing that The Stones used digital in some new fashion during the recording process as well. At the time .. it was a horrible place for the latest technology. Digital was no where near being perfected (still isn't IMO) .. and people were looking for other things besides using just the standard two inch tape recording process.

Now we are all the way to trying to get the best of a DAW or digital to sound like Analog tape. We are getting close ...very close at times.


Steel Wheels was a sound track to go along with a monster tour .. not a great or even really good album in itself. It sounds 'forced' .. because the boys were just getting on again. I suppose they had to have it that way though .. had to start back somewhere ... some way Lol. Steel Wheels album is viewed tome as not a failure but much more a 'time and place album' I can relate to. We were just glad to hear em and have them back.

Ian



Edited 1 time(s). Last edit at 2019-09-09 11:06 by IanBillen.

That new album is never going to come out as an "album" if they want it to be "great" and the more they wait the worse it gets, they've set the bar too high, impossible standards especially at a time where no one gives a toss about albums anymore ! They'll never admit it of course, like they'll never say this is the last tour so they'll keep on sprinkling sessions here and there to stay "relevant" but they're not fooling anyone with a brain.

--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album.

While there is every reason to suspect Don Was will be a producer on any future releases including post-Stones, I did want to point out that we're talking about work Kimsey did thirty years ago and using it as a barometer to measure potential work today. There are times all of us are quite mad.

Bump. didn't want this riveting thread to drop off page one....

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iraq0708
Bump. didn't want this riveting thread to drop off page one....

Yes, a great thread.

Wondering if there will be any work by individual members on the album before the next scheduled one week band session in December.
Mick "writes all the time" so there's that, but maybe Keith will conjure up another dynamite riff to add to his three?

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

isn't the thought that another producer(other that Don Was) might work with the Stones way past the due date?....not happening.....

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Rocky Dijon

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SomeGuy
If SW is symptomatic of what Kimsey would bring the band nowadays, I wouldn't expect much of him producing the new album.

While there is every reason to suspect Don Was will be a producer on any future releases including post-Stones, I did want to point out that we're talking about work Kimsey did thirty years ago and using it as a barometer to measure potential work today. There are times all of us are quite mad.

Eh, one never knows.

Makes me think of Jimmy Miller. There we are talking. Poor guy, passed at 52 due to liver failure.

Let's see... just in the Twenty Hundreds alone, of which we are now in the 20th year of, they've released:

2002 FORTY LICKS hits
2005 A BIGGER BANG new LP
2005 RARITIES
2012 THE SIMIAN DISASTER hits
2016 BLUE AND LONESOME new LP
2019 HONK hits

The only inventive/creative thing they've done since 2005 has been the tour posters. All the various live releases are just them finally admitting they're an archival band now, seeing that nothing new from a new LP on tour has been released since NO SECURITY.

So even if they do release a new album... it will be an obvious 'Yep, we're done' kind of thing. If they don't, no one notices.

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GasLightStreet
Let's see... just in the Twenty Hundreds alone, of which we are now in the 20th year of, they've released:

2002 FORTY LICKS hits
2005 A BIGGER BANG new LP
2005 RARITIES
2012 THE SIMIAN DISASTER hits
2016 BLUE AND LONESOME new LP
2019 HONK hits

The only inventive/creative thing they've done since 2005 has been the tour posters. All the various live releases are just them finally admitting they're an archival band now, seeing that nothing new from a new LP on tour has been released since NO SECURITY.

So even if they do release a new album... it will be an obvious 'Yep, we're done' kind of thing. If they don't, no one notices.

+ "The Rolling Stones Singles Box Set" (2006)

Deleted



Edited 1 time(s). Last edit at 2019-09-10 22:15 by tiffanyblu.

Steel Wheels is the last great Stones album, even without a sterling single to make it stand out. Mixed Emotions pretty much summed up their current situation. Terrifying was a new, exciting inroad into jazz. Blinded by Love is sublime Stones country, with exceptional lyrics. Almost Hear You Sigh is lovely. Continental Drift ambitious. And Slipping Away the coda to the Golden Age of the Stones. They would never again reach these heights in the studio. They would never sound as honestly emotional.

I think they know a new album simply can't go where they once soared. They're caught between trying to sound like 'Classic' Stones, but still be relevant. Since it won't sell for beans, they should just let it all hang out. Let the creativity flow, without worrying about the grand public out there. They just want to hear the warhorses anyway.

Creative Work in the Twenty-First Century

1. Goddess in the Doorway + 2 bonus tracks
2. Four New Licks
3. Four New Alfies
4. A Bigger Bang + 3 bonus tracks
5. "Charmed Life"
6. Six New Exiles
7. "Watching the River Flow"
8. SuperHeavy Deluxe Edition (8 tracks with substantial Jagger input)
9. Six New Some Girls
10. Two GRRReat Songs
11. Crosseyed Heart
12. Blue and Lonesome
13. "Gotta Get a Grip" / "England Lost"

That's something like 94 tracks including the cover versions. What we have is a lack of cohesive albums and actual creative collaboration. The productivity has slowed with age, but not to the trickle some would claim.



Edited 1 time(s). Last edit at 2019-09-10 22:34 by Rocky Dijon.

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Rocky Dijon
Creative Work in the Twenty-First Century

1. Goddess in the Doorway + 2 bonus tracks
2. Four New Licks
3. Four New Alfies
4. A Bigger Bang + 3 bonus tracks
5. "Charmed Life"
6. Six New Exiles
7. "Watching the River Flow"
8. SuperHeavy Deluxe Edition (8 tracks with substantial Jagger input)
9. Six New Some Girls
10. Two GRRReat Songs
11. Crosseyed Heart
12. Blue and Lonesome
13. "Gotta Get a Grip" / "England Lost"

That's something like 94 tracks including the cover versions. What we have is a lack of cohesive albums and actual creative collaboration. The productivity has slowed with age, but not to the trickle some would claim.

You forgot 13 tunes that are "Not For Beginners", 1 Anthological "You Strum and I'll Sing" and 12 tracks from one who "Feels Like Playing".

Edit: Sorry, there were 3 covers on "Beginners" and the last one was 1 Spoonful too much.

[www.reverbnation.com]



Edited 1 time(s). Last edit at 2019-09-11 00:06 by audun-eg.

One Birds-tune as well, but I think Rocky was thinking of the Glimmers here.

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24FPS
Steel Wheels is the last great Stones album, even without a sterling single to make it stand out. Mixed Emotions pretty much summed up their current situation. Terrifying was a new, exciting inroad into jazz. Blinded by Love is sublime Stones country, with exceptional lyrics. Almost Hear You Sigh is lovely. Continental Drift ambitious. And Slipping Away the coda to the Golden Age of the Stones. They would never again reach these heights in the studio. They would never sound as honestly emotional.

I think they know a new album simply can't go where they once soared. They're caught between trying to sound like 'Classic' Stones, but still be relevant. Since it won't sell for beans, they should just let it all hang out. Let the creativity flow, without worrying about the grand public out there. They just want to hear the warhorses anyway.

Are you saying they are caught between a ROCK AND A HARD PLACE??….sorry could not resist. But yes, could be...

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DandelionPowderman
One Birds-tune as well, but I think Rocky was thinking of the Glimmers here.

You're right, of course. My point is that Ron hasn't been involved in writing material for the Stones since.... ? Why not? His latest releases clearly shows that he is just as capable as the Glimmers. And who knows if the three of them worked together in a creative process... Not just beeing session musicians on eachothers songs.

[www.reverbnation.com]



Edited 1 time(s). Last edit at 2019-09-11 01:09 by audun-eg.