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vertigojoe
Certainly better than Beggars, which for me is no 4 in the Big 4
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vertigojoe
For me Tattoo You should be higher and Dirty Work I'd put above any of the studio LP's that came after it. I know that's controversial but in DW I can hear Keith's passion to keep the band together and make an album in the traditional Stones manner. In the SW and beyond albums I only hear the need to put out an album so they can go on tour. A concept since dispensed with.
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treaclefingersQuote
vertigojoe
Certainly better than Beggars, which for me is no 4 in the Big 4
I wonder if Jumpin' Jack Flash had been located as the second track, right after Sympathy For The Devil, whether we'd have concluded that Beggar's was clearly the best of the big four?
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noughties
The author seems to navigate to some Stonesology. If my memory serves me well, Between The Buttons wasn`t that great. -Maybe a parallalell to Manfred Mann`s lame As Is. I agree with those who say; strip the latter day CDs of superfluos tracks, and you`d have a lot of strong albums, containing even possible live staples.
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vertigojoeQuote
treaclefingersQuote
vertigojoe
Certainly better than Beggars, which for me is no 4 in the Big 4
I wonder if Jumpin' Jack Flash had been located as the second track, right after Sympathy For The Devil, whether we'd have concluded that Beggar's was clearly the best of the big four?
Yes maybe. Although personally I’d put it at track 3 and scratch the execrable Dear Doctor
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JumpingKentFlash
To have the 89-05 albums that low is just stupid and it screams “We haven’t heard them in years”.
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Silver Dagger
Let It Bleed No 4? C'mon man, it's pound for pound their greatest album.
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treaclefingers
agree with you on the latter day stones opinion, however Between the Buttons is probably their most underrated album,UK or US version. Like TSMR was a momentary departure into psychedelia, BtB was a momentary departure into pop. It didn't stick, but it didn't mean they didn't do an amazing job of it (in either albums case). 1967 was a year where stones accomplishments were overshadowed by everyone else, but they were still rising towards the top of their game.
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Send It To me
Emotional Rescue and Majesties are too high and Let It Bleed and Tattoo are too low, but otherwise in the general ballpark
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Witness
It is refreshing to see TATTOO YOU decidedly away from the top, in marked contrast to the views among so many posters on IORR, which so often have much puzzled me. Only fault, it should have been further down, towards the bottom.
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DanQuote
Witness
It is refreshing to see TATTOO YOU decidedly away from the top, in marked contrast to the views among so many posters on IORR, which so often have much puzzled me. Only fault, it should have been further down, towards the bottom.
Because so many of us younger fans (in our 40s and 50s) this was our introduction to the Rolling Stones as a still current band, and a vital part of our musical formative years. My cousin had this when I was 8 years and songs like Slave and Heaven somewhat fascinated me. I don't even remember Undercover being out, so next up was Harlem Shuffle all over KLOS.
Early 1980's a lot of record buying peeps only had Hot Rocks and Tattoo You and maybe a mix tape of whatever was taped off the radio.
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WitnessQuote
DanQuote
Witness
It is refreshing to see TATTOO YOU decidedly away from the top, in marked contrast to the views among so many posters on IORR, which so often have much puzzled me. Only fault, it should have been further down, towards the bottom.
Because so many of us younger fans (in our 40s and 50s) this was our introduction to the Rolling Stones as a still current band, and a vital part of our musical formative years. My cousin had this when I was 8 years and songs like Slave and Heaven somewhat fascinated me. I don't even remember Undercover being out, so next up was Harlem Shuffle all over KLOS.
Early 1980's a lot of record buying peeps only had Hot Rocks and Tattoo You and maybe a mix tape of whatever was taped off the radio.
You manage to present the viewpoint with more emphasis than I have seen before. The reflection makes me wonder if there is an element of generation bias about the popularity of TATTOO YOU. That is, more than it is the case for other Stones albums.
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StoneageQuote
WitnessQuote
DanQuote
Witness
It is refreshing to see TATTOO YOU decidedly away from the top, in marked contrast to the views among so many posters on IORR, which so often have much puzzled me. Only fault, it should have been further down, towards the bottom.
Because so many of us younger fans (in our 40s and 50s) this was our introduction to the Rolling Stones as a still current band, and a vital part of our musical formative years. My cousin had this when I was 8 years and songs like Slave and Heaven somewhat fascinated me. I don't even remember Undercover being out, so next up was Harlem Shuffle all over KLOS.
Early 1980's a lot of record buying peeps only had Hot Rocks and Tattoo You and maybe a mix tape of whatever was taped off the radio.
You manage to present the viewpoint with more emphasis than I have seen before. The reflection makes me wonder if there is an element of generation bias about the popularity of TATTOO YOU. That is, more than it is the case for other Stones albums.
Yep, I have noticed this too. I get the feeling that fans around 60, or older, tend to grade all the early albums (the ones before 1968) way ahead of TY. And TY ends up in the bottom list. It was TY that got me into The Rolling Stones. So I will always grade it high. It's an age thing then. I guess...
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WitnessQuote
DanQuote
Witness
It is refreshing to see TATTOO YOU decidedly away from the top, in marked contrast to the views among so many posters on IORR, which so often have much puzzled me. Only fault, it should have been further down, towards the bottom.
Because so many of us younger fans (in our 40s and 50s) this was our introduction to the Rolling Stones as a still current band, and a vital part of our musical formative years. My cousin had this when I was 8 years and songs like Slave and Heaven somewhat fascinated me. I don't even remember Undercover being out, so next up was Harlem Shuffle all over KLOS.
Early 1980's a lot of record buying peeps only had Hot Rocks and Tattoo You and maybe a mix tape of whatever was taped off the radio.
You manage to present the viewpoint with more emphasis than I have seen before. The reflection makes me wonder if there is an element of generation bias about the popularity of TATTOO YOU. That is, more than it is the case for other Stones albums.
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DandelionPowdermanQuote
StoneageQuote
WitnessQuote
DanQuote
Witness
It is refreshing to see TATTOO YOU decidedly away from the top, in marked contrast to the views among so many posters on IORR, which so often have much puzzled me. Only fault, it should have been further down, towards the bottom.
Because so many of us younger fans (in our 40s and 50s) this was our introduction to the Rolling Stones as a still current band, and a vital part of our musical formative years. My cousin had this when I was 8 years and songs like Slave and Heaven somewhat fascinated me. I don't even remember Undercover being out, so next up was Harlem Shuffle all over KLOS.
Early 1980's a lot of record buying peeps only had Hot Rocks and Tattoo You and maybe a mix tape of whatever was taped off the radio.
You manage to present the viewpoint with more emphasis than I have seen before. The reflection makes me wonder if there is an element of generation bias about the popularity of TATTOO YOU. That is, more than it is the case for other Stones albums.
Yep, I have noticed this too. I get the feeling that fans around 60, or older, tend to grade all the early albums (the ones before 1968) way ahead of TY. And TY ends up in the bottom list. It was TY that got me into The Rolling Stones. So I will always grade it high. It's an age thing then. I guess...
Since Mick Taylor is on TY, I somehow doubt that. SG is a popular album, no matter which generation you belong to. TY, however, had an even more nuanced musical feel to it (with the quiet b-side) and many of the guys who got their kicks to Moonlight Mile, Time Waits For No One or Winter might love Worried About You, Tops and Waiting On A Friend for the same reasons.
That said, most of TY is sort of a SG, part III, with its Pathe Marconi-sound and Keith and Ronnie's weaving-style. That's what I fell in love with. And, yes, it was my first Stones-album.
As I grew older, I learned to appreciated side B even more.
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WitnessQuote
DandelionPowdermanQuote
StoneageQuote
WitnessQuote
DanQuote
Witness
It is refreshing to see TATTOO YOU decidedly away from the top, in marked contrast to the views among so many posters on IORR, which so often have much puzzled me. Only fault, it should have been further down, towards the bottom.
Because so many of us younger fans (in our 40s and 50s) this was our introduction to the Rolling Stones as a still current band, and a vital part of our musical formative years. My cousin had this when I was 8 years and songs like Slave and Heaven somewhat fascinated me. I don't even remember Undercover being out, so next up was Harlem Shuffle all over KLOS.
Early 1980's a lot of record buying peeps only had Hot Rocks and Tattoo You and maybe a mix tape of whatever was taped off the radio.
You manage to present the viewpoint with more emphasis than I have seen before. The reflection makes me wonder if there is an element of generation bias about the popularity of TATTOO YOU. That is, more than it is the case for other Stones albums.
Yep, I have noticed this too. I get the feeling that fans around 60, or older, tend to grade all the early albums (the ones before 1968) way ahead of TY. And TY ends up in the bottom list. It was TY that got me into The Rolling Stones. So I will always grade it high. It's an age thing then. I guess...
Since Mick Taylor is on TY, I somehow doubt that. SG is a popular album, no matter which generation you belong to. TY, however, had an even more nuanced musical feel to it (with the quiet b-side) and many of the guys who got their kicks to Moonlight Mile, Time Waits For No One or Winter might love Worried About You, Tops and Waiting On A Friend for the same reasons.
That said, most of TY is sort of a SG, part III, with its Pathe Marconi-sound and Keith and Ronnie's weaving-style. That's what I fell in love with. And, yes, it was my first Stones-album.
As I grew older, I learned to appreciated side B even more.
However, at the indicated age levels Mick Taylor is not part of your earliest Rolling Stones references. Everything Rolling Stones dividing is not pro- or anti Mick Taylor related.
And if you are among surviving fans of rock music over several rock generations , even with a comparatively early start, you may be interested in the arrival of punk and "new wave" as renewing rock, therefore appreciating SOME GIRLS. And, at the same time, unprejudiced, also loving both "Miss You" and "Far Away Eyes".
Besides, possibly liking EMOTIONAL RESCUE and UNDERCOVER as developing new Rolling Stones music.
But, at least some from the focused age levels, finding "Start Me Up" as a light weight generic Rolling Stones song, more or less the mother of "Stones-by-numbers". And the rest of that album, apart from the marvellous "Waiting on a Friend", rather so and so, held up against almost anything in a Rolling Stones context. Myself even more critical towards the album than others of the said age levels may be.
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Witness
Myself, not 60 years old (but the criterion was (or rather, it became) 60 years or older), I tend to not ranking the Brian Jones and Mick Taylor eras. Possibly slightly more in love with the former, slightly more impressed by the latter. Besides, I do love the three (other) Pathe Marconi studio albums.
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DandelionPowdermanQuote
Witness
Myself, not 60 years old (but the criterion was (or rather, it became) 60 years or older), I tend to not ranking the Brian Jones and Mick Taylor eras. Possibly slightly more in love with the former, slightly more impressed by the latter. Besides, I do love the three (other) Pathe Marconi studio albums.
I'm pushing 50 and I agree with everything in your post
The Brian era was groundbreaking, while the Taylor era offered more advanced playing and sound. But not the huge, phenomenal hits like JJF, Satisfaction and Paint It, Black.
However, I do like TY, too.
PS: There is one more Pathe Marconi studio album, though