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Nikkei
"Being prolific doesn't mean shit" typical Keith remark you can't quite agree with
Does it belie an insecurity that is surprising from a dude who has written some GREAT rock songs? Why would it occur to anyone to call a bandmate's album dogshit? Why rag on a bandmate's prolific-ness? Of course, it's probably all just to sell some papers and get some ink and the guys both love each other's solo output.Quote
Nikkei
"Being prolific doesn't mean shit" typical Keith remark you can't quite agree with
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GasLightStreetQuote
kowalski
Just bought an original Wandering Spirit LP for next to nothing. Horrible cover but what a great album it is...
It is a horrible cover... but it sticks out, kinda like TATTOO YOU.
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floodonthepage
I'd be interested in a 'She's the Boss' and 'Primitive Cool' CD re-issue, as I still just have the old CBS editions...which I think is all there's ever been for those?
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Rocky DijonQuote
floodonthepage
I'd be interested in a 'She's the Boss' and 'Primitive Cool' CD re-issue, as I still just have the old CBS editions...which I think is all there's ever been for those?
Yeah, the Atlantic reissues from 1993 were just the CBS CDs with the logos changed. I was always surprised by how flat some of the tracks sound.
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Rocky Dijon
SHE'S THE BOSS, in many ways, builds on UNDERCOVER's musical direction though with much lighter lyrics. PRIMITIVE COOL is made to tour with the exception of the misguided single. WANDERING SPIRIT is Stones-ish, but not The Stones. I never think of the songs as Stones songs so much as the Mick equivalent of what Keith and The Winos were doing - familiar Stones identity but pursuing R&B influences deeper than the Stone would do. GODDESS IN THE DOORWAY is the one where little of it seems like Mick to me. Hideaway is the forerunner of Rain Fall Down and Too Far Gone is Stones-ish. Lucky Day seems rooted enough, but much of the rest of it was too far removed for my comfort zone. It felt like Mick was singing songs others had written rather than Mick investing himself in the creation of music stretching his boundaries as an artist. The four proper songs on ALFIE were hit and miss. Charmed Life was cringe-worthy and SuperHeavy, for the most part, was an abomination. There were good songs somewhere in Warring People and I Don't Mind, but the collaborations felt like channel surfing through radio formats. The whole album felt like a bad cut and paste job with contributions that rarely gelled. As for Gotta Get a Grip, it was noise and England Lost sounded like something from Bill Wyman's STUFF album. In all likelihood, Mick's musical interests simply left me behind like most of what is found on the radio.
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GasLightStreet
SHE'S THE BOSS builds on UNDERCOVER?
That is hilarious. I don't hear that at all. STB is awful. Horrendous. It makes U sound like BEGGARS BANQUET or LET IT BLEED or STICKY FINGERS or... you get the point.
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GasLightStreet
It blows my mind that Charmed Life could be, and probably is, worse than Let's Work: who let Jagger think those were even worth recording, yet alone releasing!!!????
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Rocky DijonQuote
GasLightStreet
SHE'S THE BOSS builds on UNDERCOVER?
That is hilarious. I don't hear that at all. STB is awful. Horrendous. It makes U sound like BEGGARS BANQUET or LET IT BLEED or STICKY FINGERS or... you get the point.
I'm not suggesting it's the same quality as UNDERCOVER. I like and sometimes love UNDERCOVER. I usually only find the first single on SHE'S THE BOSS worthwhile. That said, yes, I'll argue it most definitely builds on UNDERCOVER musically. "Just Another Night" is a fairly close cousin of "Undercover of the Night" and "Lucky in Love" and "She's the Boss" can be seen as natural progressions of the path he took with "Too Much Blood." Likewise, "Running Out of Luck" which digs deep into the avant-garde synthesized funk of Material tries to immerse itself in the same fashion as "Feel On, Baby" did in following Lee "Scratch" Perry's early experiments with dub. None of these songs are the equal of UNDERCOVER (except possibly "Just Another Night" which I certainly prefer to "Too Much Blood"), but that album became the musical springboard for Mick to go solo. Just as Side Two of UNDERCOVER ended with three more familiar sounding Stones tracks, likewise Mick attempted more conventional songwriting with tracks like "Lonely at the Top," "Hard Woman," and "Secrets." To a degree, they're born from Stones tracks either released or unreleased, but with the goal that they not sound like cliched Stones. Cue the missing intro to "All the Way Down" - just drop it in if Keith can't avoid playing like Keith. Dreadful as it is, "Turn the Girl Loose" tries hard to follow "Emotional Rescue" right down to the lyrical narrative. Only "Half a Loaf" which does more than echo Prince the way "Just Another Night" does at one point, this one is an actual Prince pastiche, only this lone track sounded like something Mick hadn't tried on before.
Ladies and gentlemen of the jury, I will take my seat to the strains of "Honest Man" while the Gaslight burns low.
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Rockman
Interesting that Wandering Spirit is reissued on a double LP as its 14 tracks were stacked on a single LP on the first release.
mmmmm interesting … There have been recent
releases of Dylans - Blood on tracks and Sly's
There's A Riot Going On as double albums that play at 45RPM …..
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Rockman
Interesting that Wandering Spirit is reissued on a double LP as its 14 tracks were stacked on a single LP on the first release.
mmmmm interesting … There have been recent
releases of Dylans - Blood on tracks and Sly's
There's A Riot Going On as double albums that play at 45RPM …..
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Rocky Dijon
SHE'S THE BOSS, in many ways, builds on UNDERCOVER's musical direction though with much lighter lyrics. PRIMITIVE COOL is made to tour with the exception of the misguided single. WANDERING SPIRIT is Stones-ish, but not The Stones. I never think of the songs as Stones songs so much as the Mick equivalent of what Keith and The Winos were doing - familiar Stones identity but pursuing R&B influences deeper than the Stone would do. GODDESS IN THE DOORWAY is the one where little of it seems like Mick to me. Hideaway is the forerunner of Rain Fall Down and Too Far Gone is Stones-ish. Lucky Day seems rooted enough, but much of the rest of it was too far removed for my comfort zone. It felt like Mick was singing songs others had written rather than Mick investing himself in the creation of music stretching his boundaries as an artist. The four proper songs on ALFIE were hit and miss. Charmed Life was cringe-worthy and SuperHeavy, for the most part, was an abomination. There were good songs somewhere in Warring People and I Don't Mind, but the collaborations felt like channel surfing through radio formats. The whole album felt like a bad cut and paste job with contributions that rarely gelled. As for Gotta Get a Grip, it was noise and England Lost sounded like something from Bill Wyman's STUFF album. In all likelihood, Mick's musical interests simply left me behind like most of what is found on the radio.
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Spud
This double album thing is a mixed blessing really.
Traditionally , when mastering was largely a question of the engineer's skills, 40 minutes was about the optimum duration of music which could be cut into a 12" LP before you started to impact on the dynamics, low end and overall playback levels.
[Simply put, low frequencies take up more groove space and louder levels use more groove space.]
So that 40 minutes or so, with ten or so 4 minutes-ish songs became kind of the accepted format for albums.
All this changed through the 80s with CD.
Because you could typically get an hour or more on a CD, the length of albums began to increase. [diluting the quality of released material in many cases...but that's another story ]
They were too long to fit comfortably on a single LP but the industry continued to shoehorn them on...with many LPs consequently being cut at lower than ideal levels, with very limited low end content and dynamics.
The industry didn't care very much as vinyl was perceived as being on the way out, so it wasn't an issue.
[Two Stones albums which suffered on vinyl from being too long for it were Steel Wheels and Flashpoint. The latter especially because they also squeezed Hi Wire and Sex Drive on it !...with the whole album sounding very anaemic and flat ]
On the face of it remastering some of these long albums to two discs should be a huge improvement...but it's more often an opportunity lost .
This because rather than asking a highly skilled mastering engineer to give us a natural and dynamic sound with good bandwidth ...they just cut the whole thing as loud as possible with shed loads of compression !
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Palace Revolution 2000
I don't quite agree Rocky re. STB reference. But since the thought comes from you I had to ponder it a while.
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DandelionPowderman
The vinyl presses are different today, I learned. There is no way you'll get away with more than 22 minutes on one side. Preferably, it should be less than 20 minutes. This has caused some problems with an album I'm about to release myself...
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Rocky DijonQuote
Palace Revolution 2000
I don't quite agree Rocky re. STB reference. But since the thought comes from you I had to ponder it a while.
Kind of you, but my opinions on a good day are worth as much as anyone else's. I can't hear "Undercover of the Night" without thinking how Ronnie is playing part of "Sympathy for the Devil." Different songs strike people differently.
As for GITD, the ones I like quite a bit are Dancing in the Starlight, Hideaway, Lucky Day, Too Far Gone, and Blue. I actively dislike Visions of Paradise, Joy (apart from the guitar), and God Gave Me Everything (way too much Lenny Kravitz noise for me). I can take or leave Don't Call Me Up, Goddess in the Doorway, Everybody Getting High, Gun, Brand New Set of Rules, and If Things Could Be Different. I wish What's Left of Me had been released with Mick's vocals and I wish there was a version of Nothing But the Wheel with just Mick singing. Those are actually my favorites of Mick in 2001. None of them can touch You Win Again by Keith, though. Still a Fool by Keith from the same period is also very good. I would have loved an album of minimalist rootsy music from Keith with George on drums and Fraboni producing. A pity it never materialized. Studio L had something special going.
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Rocky DijonQuote
Palace Revolution 2000
I don't quite agree Rocky re. STB reference. But since the thought comes from you I had to ponder it a while.
Kind of you, but my opinions on a good day are worth as much as anyone else's. I can't hear "Undercover of the Night" without thinking how Ronnie is playing part of "Sympathy for the Devil." Different songs strike people differently.
As for GITD, the ones I like quite a bit are Dancing in the Starlight, Hideaway, Lucky Day, Too Far Gone, and Blue. I actively dislike Visions of Paradise, Joy (apart from the guitar), and God Gave Me Everything (way too much Lenny Kravitz noise for me). I can take or leave Don't Call Me Up, Goddess in the Doorway, Everybody Getting High, Gun, Brand New Set of Rules, and If Things Could Be Different. I wish What's Left of Me had been released with Mick's vocals and I wish there was a version of Nothing But the Wheel with just Mick singing. Those are actually my favorites of Mick in 2001. None of them can touch You Win Again by Keith, though. Still a Fool by Keith from the same period is also very good. I would have loved an album of minimalist rootsy music from Keith with George on drums and Fraboni producing. A pity it never materialized. Studio L had something special going.
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retired_dog
Just follow the Clash's advice and CUT THE CRAP (if there is any) and you're safe. Although Rocky wouldn't like that...
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retired_dogQuote
DandelionPowderman
The vinyl presses are different today, I learned. There is no way you'll get away with more than 22 minutes on one side. Preferably, it should be less than 20 minutes. This has caused some problems with an album I'm about to release myself...
Just follow the Clash's advice and CUT THE CRAP (if there is any) and you're safe. Although Rocky wouldn't like that...