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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?
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DoxaQuote
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
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DandelionPowdermanQuote
DoxaQuote
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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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
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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.
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jloweQuote
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' ?
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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]
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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.