I think Doxa you have summed it up perfectly, with regards to lack of collaborative success of late. The opposite speeds or paces of the two principals, rushed or horribly long-laboured.

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DandelionPowderman


More likely, he just picked Trouble and Nothing On Me from the Licks-sessions (Trouble could be from the B2B-sessions, though, since Waddy is mentioned) because he thought they were good tracks with potential, imo.

I haven't heard about other tracks stemming from earlier sessions – solo or with the Stones?

True, but from the Richards who had "hundreds of songs", according to Jagger when talked about the sessions for upcoming STICKY FINGERS album in 1969, to the man who approaches a Stones album sessions with "three riffs", there has been a short of change happened, don't you think?

Anyway, be the origin of the songs of CROSSEYED HEART whatever, what I have heard of CROSSEYED HEART sessions they weren't exactly any workaholic and determinate Nellcote or Pathe Marconi sessions, but a series of cozy sunday afternoon sessions that took place within a rather long time period. Something suitable for a man who could have legally retired for sometime already. Probably the young and hungry Keith could have accomplished all that and more within a few weeks.

- Doxa



Edited 1 time(s). Last edit at 2018-04-23 13:31 by Doxa.

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Doxa

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DandelionPowderman


More likely, he just picked Trouble and Nothing On Me from the Licks-sessions (Trouble could be from the B2B-sessions, though, since Waddy is mentioned) because he thought they were good tracks with potential, imo.

I haven't heard about other tracks stemming from earlier sessions – solo or with the Stones?

True, but from the Richards who had "hundreds of songs", according to Jagger when talked about the sessions for upcoming STICKY FINGERS album in 1969, to the man who approaches a Stones album sessions with "three riffs", there has been a short of change happened, don't you think?

Anyway, be the origin of the songs of CROSSEYED HEART whatever, what I have heard of CROSSEYED HEART sessions they weren't exactly any workaholic and determinate Nellcote or Pathe Marconi sessions, but a series of cozy sunday afternoon sessions that took place within a rather long time period. Something suitable for a man who could have legally retired for sometime already. Probably the young and hungry Keith could have accomplished all that and more within a few weeks.

- Doxa

That's spot on. And despite what Mick says, I suspect that goes for him as well. They are doing cozy two hours studio sessions now and then, instead of locking themselves into the studio for months, like they used to.

Some of the reasons for this might have to do with technology, and the opportunitues for more flexible work, but when push comes to shove they're old people who don't prioritise studio work the way they once did.

I also suspect that Keith approached the sessions with more than three riffs. I think he highlighted those because he thought they were good, and didn't talk about the crappy ones

Seemingly, Mick talked about all his tracks..

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DandelionPowderman

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Doxa

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DandelionPowderman


More likely, he just picked Trouble and Nothing On Me from the Licks-sessions (Trouble could be from the B2B-sessions, though, since Waddy is mentioned) because he thought they were good tracks with potential, imo.

I haven't heard about other tracks stemming from earlier sessions – solo or with the Stones?

True, but from the Richards who had "hundreds of songs", according to Jagger when talked about the sessions for upcoming STICKY FINGERS album in 1969, to the man who approaches a Stones album sessions with "three riffs", there has been a short of change happened, don't you think?

Anyway, be the origin of the songs of CROSSEYED HEART whatever, what I have heard of CROSSEYED HEART sessions they weren't exactly any workaholic and determinate Nellcote or Pathe Marconi sessions, but a series of cozy sunday afternoon sessions that took place within a rather long time period. Something suitable for a man who could have legally retired for sometime already. Probably the young and hungry Keith could have accomplished all that and more within a few weeks.

- Doxa

That's spot on. And despite what Mick says, I suspect that goes for him as well. They are doing cozy two hours studio sessions now and then, instead of locking themselves into the studio for months, like they used to.

Some of the reasons for this might have to do with technology, and the opportunitues for more flexible work, but when push comes to shove they're old people who don't prioritise studio work the way they once did.

I also suspect that Keith approached the sessions with more than three riffs. I think he highlighted those because he thought they were good, and didn't talk about the crappy ones

Seemingly, Mick talked about all his tracks..

Exactly. The same goes for both of them, and let them talk whatever in public. And I don't think either of them really tries that hard to sound nothing more than what they are, semi-retired rock stars who are enjoying the fruits of their incredibly succesful career, with no any real pressure career-wise from anywhere. We die-hards - bless us - take their words too literally and seriously sometimes - though they are designed just to boost a product and for entertainment. They don't need to prove anything.

I think the Stones always have been best when they've been under a pressure taking their very competitive nature, determination and ability to work their asses off if needed - be that of coming up a new killer hot single every three months or a killer album once a year when that was the living condition for a rock and roll band. Or that of professionalizing their act to suit for the demands of a killer live act of, say, 1969 or 1989. Making any hot singles or killer albums hadn't been any kind of necessity for them for ages.

Ideally, if making new music - writing and recording that - is just 'for fun' with no deadlines and outer pressure that could probably work for some artists. The results popping up from a pure inspiration. I am sure that works for people like Bob Dylan and Neil Young. But I have the feeling that it doesn't work for The Stones. Both Mick and Keith sound way too pragmatic types of people who need some kind of kick in the ass, a target or purpose, a goal outside the creativity process in order to make them truely 'click' and use all of their creative powers and do the hard work the process asks for.

For example, I think making CROSSEYED HEART was for Keith a kind of healing process, that of him getting his chops and shit together, if not to prove for Mick to know he is up to his main job again but, more importantly, to prove that to himself. I don't think there was a sudden burst of creativity happening - 'I have so lotsa things to 'say' now, my antenna just recieved a dozen or so incredible new songs and I need to have them quickly out'. The background or a starting point for those sessions was him already having more or less retired. He has admitted that indirectly and his most important co-worker Jordan directly - who seemingly had a big practical role in starting the process (despite the real goal being that of the Stones 50 Anniversary). But it could be as well that the motivation for CROSSEYED HEART stemmed simply out of boredom ('shit, I just can't sit down at home and do nothing, even my old lady starts to be frustrated with me. Besides jamming with frends, and having an occasional drink with them, is damn fun'). In that case, the album was more like a musical commentary to the life after LIFE, 'I don't need the Stones anymore, I'm done with them and Mick. Let me be 'just' Keith Richards from now on'.

Which make me to think that probably "Gotta Get A Grip"/"London Lost" wasn't at last totally any sudden burst of creativity from the side of Mick either - that of him going 'I have so much to 'say' now - I need to get this out now!' - but that of actually 'testing waters' as it rumoured to be from a record company perspective and/or that of giving a signal to Keith that 'look, if you don't agree with me with my songs for a new Stones album, I can always release them on my own. You really want that, bro?'.

Anyway, I totally agree with you that nowadays "cozy two hours here and then" is the reality for both Mick and Keith - they might be have different ideas how those two hours should be spend (okay, we could speak some hours a day within a couple of days every few months, but the point is the same). And I don't think Charlie or Ronnie are protesting either...

- Doxa



Edited 3 time(s). Last edit at 2018-04-24 13:47 by Doxa.

I need to add that even though my view might look like that under the recent circumstances it is impossible for The Stones - or Mick and Keith alone - to come up with some outstanding results. I've seen that kind of fatalism here occasionally, but I don't think so. If one of the things I have endlessly emphasized here is 'creativity cannot be forced', as important is that one can never predict the results of a creative process. There is no 'logical' - that is: necessary - connection between the circumstances in which the creativity happens and the results. Not even that of 'working one's ass off' guarantee any great results (probably it helps though). Nor the 'method' guarantees anything.

This is also to say that if Mick and Keith would have the stamina of their youth now - they would live in a studio to get the album done and being perfect - we wouldn't be treated with new letitbleeds or @#$%& (= exiles ) - but probably still more like perils of all dirtyworks or voodoolounges and abiggerbangs. Or if Mick and Keith would be locked in the kitchen we wouldn't hear another astearsgobys or satisfactions or paintitblacks - but more like closer relatives to all of sadsadsads or roughjustices. Nor if some of Jagger's girlfriends would give him great a couple of great works of literature, he would come up with some new sympathyforthedevils. Or if - let's go crazy and tasteless here to make a 'point' - Mick would have an affair with Keith's love of life and Keith starts re-doing heroin that wouldn't give us new gimmeshelters. The 'method', the contingent cirmumstances, or a hard work alone, doesn't guarantee anything. That's the cruel nature of the bastard called 'creativity'or 'inspiration'. You really can't force the bastard.

But the flip and happy side of creativity is that the 'accidents happen' - it can defy all logic and calculation and prediction - whatever memorable can be born out of very non-likely cirmustances - that's the beauty and 'miracle' of creativity! There might be some gem among Mick's hasty done million demos or some of Keith's dynamite riffs would actually realize as a new Stones classic, no matter how lazy they are or use whatever 'methods' in a studio these days.

And in the end, if we really start being realists (which is always boring, though), the idea of even keeping some gimmeshelters or @#$%& (=exiles ) as a point of reference or as a criterion the Stones doings always should be compared to, that's pretty stupid, isn't it? For almost each of us BLUE AND LONESOME was surprisingly coherent and strong album, almost like a latter-day masterpiece (a classical case of 'best since TATTOO YOU'). There are lots of us for whom A BIGGER BANG was and is a quite enjoyable listening experience. For many of us CROSSEYED HEART surpassed all the expectations and among most of them is still cheered as a very convincing latter-day Keith Richards album. And for even some of us - me included - "Gotta Get A Grip" was surprisingly energetic and strong latter-day Jagger release. Surely for some of us all or most of that is pure crap, but I think those should somehow point out the realistic limits of expectations for the upcoming album.... Besides, I don't think many people outside of 'us' do really care or pay attention to what these old men are up to creatively these days/since their real hey-day. Occasionally they might come up with some things that have an appeal to those 'casual fans' they fill up their shows with and a 'miracle' like the success of BLUE AND LONESOME happens.

It is 'just' music, in the end... You like it or not...

Hmm.. once again, I eneded up soundinglike lecturing. Sorry about that but it is just me thinking out aloud - it is me trying to make my own ideas clear (for myself), and I find the process the most enjoyable...

- Doxa



Edited 1 time(s). Last edit at 2018-04-24 15:45 by Doxa.

ADDITION: Seemingly EXILE ON MAIN STREET - or actually e-x-i-l-e-o-f-m-a-i-n-s-t-r-e-e-t-s - is above censored and blocked to @#$%& ><

- Doxa



Edited 2 time(s). Last edit at 2018-04-24 15:42 by Doxa.

Quote
Doxa
I need to add that even though my view might look like that under the recent circumstances it is impossible for The Stones - or Mick and Keith alone - to come up with some outstanding results. I've seen that kind of fatalism here occasionally, but I don't think so. If one of the things I have endlessly emphasized here is 'creativity cannot be forced', as important is that one can never predict the results of a creative process. There is no 'logical' - that is: necessary - connection between the circumstances in which the creativity happens and the results. Not even that of 'working one's ass off' guarantee any great results (probably it helps though). Nor the 'method' guarantees anything.

This is also to say that if Mick and Keith would have the stamina of their youth now - they would live in a studio to get the album done and being perfect - we wouldn't be treated with new letitbleeds or @#$%& (= exiles ) - but probably still more like perils of all dirtyworks or voodoolounges and abiggerbangs. Or if Mick and Keith would be locked in the kitchen we wouldn't hear another astearsgobys or satisfactions or paintitblacks - but more like closer relatives to all of sadsadsads or roughjustices. Nor if some of Jagger's girlfriends would give him great a couple of great works of literature, he would come up with some new sympathyforthedevils. Or if - let's go crazy and tasteless here to make a 'point' - Mick would have an affair with Keith's love of life and Keith starts re-doing heroin that wouldn't give us new gimmeshelters. The 'method', the contingent cirmumstances, or a hard work alone, doesn't guarantee anything. That's the cruel nature of the bastard called 'creativity'or 'inspiration'. You really can't force the bastard.

But the flip and happy side of creativity is that the 'accidents happen' - it can defy all logic and calculation and prediction - whatever memorable can be born out of very non-likely cirmustances - that's the beauty and 'miracle' of creativity! There might be some gem among Mick's hasty done million demos or some of Keith's dynamite riffs would actually realize as a new Stones classic, no matter how lazy they are or use whatever 'methods' in a studio these days.

And in the end, if we really start being realists (which is always boring, though), the idea of even keeping some gimmeshelters or @#$%& (=exiles ) as a point of reference or as a criterion the Stones doings always should be compared to, that's pretty stupid, isn't it? For almost each of us BLUE AND LONESOME was surprisingly coherent and strong album, almost like a latter-day masterpiece (a classical case of 'best since TATTOO YOU'). There are lots of us for whom A BIGGER BANG was and is a quite enjoyable listening experience. For many of us CROSSEYED HEART surpassed all the expectations and among most of them is still cheered as a very convincing latter-day Keith Richards album. And for even some of us - me included - "Gotta Get A Grip" was surprisingly energetic and strong latter-day Jagger release. Surely for some of us all or most of that is pure crap, but I think those should somehow point out the realistic limits of expectations for the upcoming album.... Besides, I don't think many people outside of 'us' do really care or pay attention to what these old men are up to creatively these days/since their real hey-day. Occasionally they might come up with some things that have an appeal to those 'casual fans' they fill up their shows with and a 'miracle' like the success of BLUE AND LONESOME happens.

It is 'just' music, in the end... You like it or not...

Hmm.. once again, I eneded up soundinglike lecturing. Sorry about that but it is just me thinking out aloud - it is me trying to make my own ideas clear (for myself), and I find the process the most enjoyable...

- Doxa

Sorry Doxa I don't have the time unfortunately to elequently respond as you always do. I agree that they are still artists and something will come as a new album. There's no doubt when they sit face to face for their mini sessions something good comes out of it. Wish I was a fly on the wall for those moments, because every session is a building block towards the album we will eventually receive!!

“The highly anticipated concert will be the longest of their upcoming European tour, according to the band’s long-time tour manager” This seems like good
news for those attending. There must be some surprises planned? I assume this
indicates a longer set list for this show.

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swimtothemoon
“The highly anticipated concert will be the longest of their upcoming European tour, according to the band’s long-time tour manager” This seems like good
news for those attending. There must be some surprises planned? I assume this
indicates a longer set list for this show.

Who is 'their long term tour Manager' ?

Quote
jlowe

Quote
swimtothemoon
“The highly anticipated concert will be the longest of their upcoming European tour, according to the band’s long-time tour manager” This seems like good
news for those attending. There must be some surprises planned? I assume this
indicates a longer set list for this show.

Who is 'their long term tour Manager' ?

Probably meant "production manager". Dale Skjerseth. 24 years now..

I read thru this and found it warmer/ comes across well, for those who like to read (audio too) I thought I’d post in case missed-repeat of recent, but bit more detailed to me.

[www.rte.ie]

Nice read, thanks for the share

Wonderful to hear ... Fanks 35 ....
Now lets wait for the anti-Micks to attack it .... Rat_a-Tat-tat ....



ROCKMAN

Quote
35love
I read thru this and found it warmer/ comes across well, for those who like to read (audio too) I thought I’d post in case missed-repeat of recent, but bit more detailed to me.

[www.rte.ie]

In the interview Mick is reported as saying (of 'Satisfaction' being a hit)

No, not when you wrote it. I mean when we did it, when we recorded it in the studio I thought it was really hot, but then you didn't really know.

Eh?

The six Rolling Stones took a vote on whether to release it. Bill, Charlie, Brian and Stu voted FOR it and Mick and Keith voted against.

But then Jagger always has had a loose idea of history!

--
Captain Corella
60 Years a Fan

Good interview in sharp contrast to The Independent. Even if Mick seems a bit guarded (it's rare when he doesn't), he still has a positive attitude and says a number of interesting things. Some even worth quoting. Well done, Miriam.

“I mean it's really enjoyable. The last tour we did, the last European tours we did were really a lot of fun. We just keep going doing it.”

“You can't just do them by rote. You got to really get into them, but you do. You sing them to people. You can see the people you're singing them to, so you get the exchange of emotions. That's what it's about.”

“ I mean I see some people, I see that follow us around everywhere and they have flags and stuff, so I know them, but there's a very mixed bunch.”

“However the mystery unfolds, I'm very thankful that people still come along. It's brilliant for me.”

“Yeah, very lucky, super lucky. I'm very blessed by it. I'm very pleased. I'm looking forward very much to coming to Croke Park, the first gig and doing a really good one.”

Ah Mick, we love ya too xxoo
The Best!

Nice interview. Clearly any talk of the new album was off limits.
Slight contradiction....' likes all he writes'...then a bit later..'some of it was rubbish'.
I assume Mr Browne was part of the super rich Guinness family who have/had property in Ireland of course.

Who will DARE ask sir Mick interesting questions? Who?

This is a straight boring PR job.

Quote
jlowe
Nice interview. Clearly any talk of the new album was off limits.
Slight contradiction....' likes all he writes'...then a bit later..'some of it was rubbish'.
I assume Mr Browne was part of the super rich Guinness family who have/had property in Ireland of course.

From Wiki:

He was the eldest of the three sons of The 4th Baron Oranmore and Browne and his second wife, Oonagh, daughter of The Hon. Arthur Ernest Guinness, the second son of The 1st Earl of Iveagh. Oonagh was therefore a wealthy heiress to the Guinness fortune and the youngest of the three "Golden Guinness Girls". Garech's father, Lord Oranmore and Browne, had the rare distinction of sitting silently in the House of Lords for 72 years until his death at age 100 in August 2002, without ever having spoken in debate.[citation needed]

As both his parents were married three times, he had two stepmothers and two stepfathers and also had a number of elder half siblings. His only full brother, The Hon. Tara Browne, was a young London socialite whose death at age 21 in a car crash in London's West End was immortalised in the song "A Day in the Life" by John Lennon and Paul McCartney. Garech was educated at Institut Le Rosey, Switzerland, and, although a member of the extended Guinness family, he took no active part in its brewing business.
[en.wikipedia.org]


"As we say in England, it can get a bit trainspottery"