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24FPS
Isn't this thread about Tattoo You? Yes, Undercover is a terrible album, Dirty Work, only slightly better. But this is about a GOOD album, Tattoo You. A collage from songs held back for years, but good ones for sure. Wonder if there's an alternate version of Heaven?

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Stoneage
Imagine a Dirty Work deluxe reissue. Maybe 8 new tracks from the DW sessions. And a new cartoon. Wouldn't that be something? Or maybe not...

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Braincapers

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bakersfield
I hate Let's Work (patronising message and hideous production) but I love Winning Ugly. Good tune, good lyric, great guitar work, what's not to like?

Let's Work? Isn't that on a Jagger solo album?

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KRiffhard

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bakersfield
Well, that was fun. Back to the topic. What will the nine Tattoo You bonus tracks be? I'm assuming that everything from 69-83 is fair game as previous deluxe versions have been full of anachronisms:

I'd like to have (all with finished lyrics and vocals please):

1. Eliza
2. Misty Roads
3. Fiji Gin
4. Hillside Blues
5. Dreams to Remember
6. Built that way
7. Fast Talking
8. The song known as 'Dogshit' (which I guess is more likely 'Bad Luck'?)
9. Come on Sugar

I Need You
She Never Listen To Me
Not The Way To Go
Cookin Up

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GasLightStreet

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KRiffhard

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bakersfield
Well, that was fun. Back to the topic. What will the nine Tattoo You bonus tracks be? I'm assuming that everything from 69-83 is fair game as previous deluxe versions have been full of anachronisms:

I'd like to have (all with finished lyrics and vocals please):

1. Eliza
2. Misty Roads
3. Fiji Gin
4. Hillside Blues
5. Dreams to Remember
6. Built that way
7. Fast Talking
8. The song known as 'Dogshit' (which I guess is more likely 'Bad Luck'?)
9. Come on Sugar

I Need You
She Never Listen To Me
Not The Way To Go
Cookin Up

If Rotten Roll, or whatever it's called, is included, along with Fiji Gin, or whatever it's called, and Misty Roads aka When She Held Me Tight, and Not The Way To Go... and a few others I can't remember the names of at the moment from the SG and ER sessions... yet alone anything going back to 1972...

STELLAR REISSUE.

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treaclefingers

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GasLightStreet

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KRiffhard

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bakersfield
Well, that was fun. Back to the topic. What will the nine Tattoo You bonus tracks be? I'm assuming that everything from 69-83 is fair game as previous deluxe versions have been full of anachronisms:

I'd like to have (all with finished lyrics and vocals please):

1. Eliza
2. Misty Roads
3. Fiji Gin
4. Hillside Blues
5. Dreams to Remember
6. Built that way
7. Fast Talking
8. The song known as 'Dogshit' (which I guess is more likely 'Bad Luck'?)
9. Come on Sugar

I Need You
She Never Listen To Me
Not The Way To Go
Cookin Up

If Rotten Roll, or whatever it's called, is included, along with Fiji Gin, or whatever it's called, and Misty Roads aka When She Held Me Tight, and Not The Way To Go... and a few others I can't remember the names of at the moment from the SG and ER sessions... yet alone anything going back to 1972...

STELLAR REISSUE.

I don't know what it is, but this re-issue has me more enthusiastic than any of the other DELUXE packages so far. I guess I knew the ABKCO ones would be lame, and after EXILE (sure Plundered was great, but nothing much more to freak out about) I dumbed down my expectation. I liked the Deluxe Some Girls CD, that was unexpected.

I wasn't expecting much from Sticky, which was accurate. Same with GHS though that was a very pleasant surprise.

None of these releases though did I have high expectations from the get-go but I think Tattoo You will be fantastic, and the biggest seller reissue so far.

I may be setting myself up for a huge fall this Fall!

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GasLightStreet

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treaclefingers

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GasLightStreet

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KRiffhard

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bakersfield
Well, that was fun. Back to the topic. What will the nine Tattoo You bonus tracks be? I'm assuming that everything from 69-83 is fair game as previous deluxe versions have been full of anachronisms:

I'd like to have (all with finished lyrics and vocals please):

1. Eliza
2. Misty Roads
3. Fiji Gin
4. Hillside Blues
5. Dreams to Remember
6. Built that way
7. Fast Talking
8. The song known as 'Dogshit' (which I guess is more likely 'Bad Luck'?)
9. Come on Sugar

I Need You
She Never Listen To Me
Not The Way To Go
Cookin Up

If Rotten Roll, or whatever it's called, is included, along with Fiji Gin, or whatever it's called, and Misty Roads aka When She Held Me Tight, and Not The Way To Go... and a few others I can't remember the names of at the moment from the SG and ER sessions... yet alone anything going back to 1972...

STELLAR REISSUE.

I don't know what it is, but this re-issue has me more enthusiastic than any of the other DELUXE packages so far. I guess I knew the ABKCO ones would be lame, and after EXILE (sure Plundered was great, but nothing much more to freak out about) I dumbed down my expectation. I liked the Deluxe Some Girls CD, that was unexpected.

I wasn't expecting much from Sticky, which was accurate. Same with GHS though that was a very pleasant surprise.

None of these releases though did I have high expectations from the get-go but I think Tattoo You will be fantastic, and the biggest seller reissue so far.

I may be setting myself up for a huge fall this Fall!

For me, the first 3 tracks of the bonus LP of the EOMS reissue are stellar. THe rest of it is garbage.

Only 3 from the SG reissue are good (the two country songs and Tallahassee).

The SF reissue is interesting to a point (Bitch and CYHMK mainly).

The GHS reissue is very interesting, especially considering the remix, and well done - but it's another 'why not more since there is more?' thing. GHS is the best, quality wise.

So I'm with ya. Hopefully this last deluxe reissue will be supreme. Because we know there ain't gonna be anymore after TATTOO YOU. They're closing in on 60 years, Mick has said the new LP will be the last (obviously if they finish it, if not, then it's BLUE AND LONESOME)... they'll be shutting it down after 2022 it seems like.

Rightfully so, if they do.

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GasLightStreet

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24FPS
Isn't this thread about Tattoo You? Yes, Undercover is a terrible album, Dirty Work, only slightly better. But this is about a GOOD album, Tattoo You. A collage from songs held back for years, but good ones for sure. Wonder if there's an alternate version of Heaven?

Yes it is about TATTOO YOU. But, as is the culture here, other LPs get talked about, within and without context, just as with any other album thread. UNDERCOVER is excellent... but not in the classic sense. DIRTY WORK is an embarrassment.

TY is a GREAT album.

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24FPS

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GasLightStreet

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24FPS
Isn't this thread about Tattoo You? Yes, Undercover is a terrible album, Dirty Work, only slightly better. But this is about a GOOD album, Tattoo You. A collage from songs held back for years, but good ones for sure. Wonder if there's an alternate version of Heaven?

Yes it is about TATTOO YOU. But, as is the culture here, other LPs get talked about, within and without context, just as with any other album thread. UNDERCOVER is excellent... but not in the classic sense. DIRTY WORK is an embarrassment.

TY is a GREAT album.

Undercover is worse than Satanic Majesties. Dirty Work has its moments. Tattoo You is a GOOD album. Not up there with the biggies, but pretty damn good.

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24FPS

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GasLightStreet

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24FPS
Isn't this thread about Tattoo You? Yes, Undercover is a terrible album, Dirty Work, only slightly better. But this is about a GOOD album, Tattoo You. A collage from songs held back for years, but good ones for sure. Wonder if there's an alternate version of Heaven?

Yes it is about TATTOO YOU. But, as is the culture here, other LPs get talked about, within and without context, just as with any other album thread. UNDERCOVER is excellent... but not in the classic sense. DIRTY WORK is an embarrassment.

TY is a GREAT album.

Undercover is worse than Satanic Majesties.

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24FPS
Dirty Work has its moments. Tattoo You is a GOOD album. Not up there with the biggies, but pretty damn good.

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GasLightStreet
Wrong. TATTOO YOU is a KILLER album. How and why you can not fathom that... you think DIRTY WORK is good, has "its moments". No it doesn't. That says enough.

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GasLightStreet

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deardoctor

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treaclefingers

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deardoctor
I love DW.
It´s about the bad production, tons of reverb and awful synthesizers. Ged rid of that, add some outtakes and yoou get a masterpiece.
I don´t care about ABB and "Blue and Lonesome". I alway would choose DW!

If you take out the bad performances and poor songwriting as well, you'd have a near perfect album.

Perhaps you should revisit. I know there are different tastes - I thought about 10 years GHS as a weak album.

Dirty work a a album
One hit (Killer)
fight (not bad but I prefer an early version)
Harlem shuffle (nice)
Hold back (rather a filler)
Too rude (ok)
Winning ugly (Killer - but the London remix!)
Back to zero (nice parts but somehow ruined)
Dirty work (killer)
Had it with you (very good)
Sleep tonight (well - ok)

Overall far better than anything post 1997

A correction:

(WTF? "a a album"? WTFIT? "As An" I'm guessing):

One Hit (To The Body) - Asleep at the wheel Stones-by-numbers - aside from Ronnie comparing it to Street Fighting Man, which is @#$%^& weak, he said this:

(Jimmy Page) rang me at the studio one night and said, How's it going? Do you mind if I come and hear how the album's going? I said, no, I didn't mind. He's a very shy guy. After he'd done that overdub on One Hit, he left the studio saying, I'm sorry, man, I'm sorry. I said, Don't apologize... you did all right!

- Ron Wood, 1986

Weak. Rented blondes in the front weak.


Fight (energetic - but weak: WEAK)

That riff, yeah, and those tone drops on Fight which are typical of Jumpin' Jack or Street Fighting Man or Brown Sugar, those changes. That one came out of the blue. To tell the truth, I was pissed off at Mick one night, because we'd got nothing going in the studio and he'd left early. I just got so made with him I felt like, I want to get into a fight (laughs), and I just started it off like that. It was one of those things that came out of an immediate rage. Then Mick came back and sang it and did an INCREDIBLE job on it; it was when he started singing that I started to see the connection between it and Jumpin' Jack Flash and Street Fighting Man.

- Keith Richards, 1985

Such utter bullshit. Selling. First new record for a new record label. Spouting off bullshit. Keith took complete umbrage with this record because of Mick.

Garbage.

Although I do like the song. But I like other shit songs on other albums so whatever. Overall, regarding their cannon, complete garbage.


Harlem shuffle (Excellent)

Things like Harlem Shuffle... we did in two takes.

- Ron Wood, 1988

They should've stuck to that kind of thing for DIRTY WORK.



Hold Back (Dogshit in the doorway)

Ivan Neville, Aaron's son, is playing bass. That one was a track we'd put down almost at the end of the sessions but never really considered, you know: Oh well, put that one on hold for another album. But Charlie's drums were SO strong and the arrangement was developed so well that all we needed really was to re-do the bass, because the sound wasn't up to par on it - we'd only done it as a kind of dub in Paris. So when Ivan walked in one night, it was, Hey, Ivan, get out there.

- Keith Richards, 1985

More hype for another filler shit song from Keith.


Too Rude (Cool)

On Too Rude, I got to play the drums. That was when Charlie was going through a terrible time with Shirley. They were having lots of heavy arguments and so Charlie was often late, or Shirley would come into the studio and forcibly drag him out. On one of those nights Keith said, All right, you're on drums, Ronnie... The drum sound was very dynamic: I ended up sounding like Solomon Burke's drummer. I was very proud of it, actually.

- Ron Wood, 2003

Considering all that was recorded for this album, as we know, THIS was decided to be put on? I do like it but it's janked as shit overall. It's a weird good.


Winning ugly (Dogshit in the doorway 2)

Notice Keith doesn't actually say anything ABOUT the song:

The original track had two guitars, Woody and me, and then I think we put another couple on there that we used in and out. Then there's that lick: everybody keeps asking me to show them how to play it. I feel like I could make a living off teaching guitar players how to play that lick (laughs). But it's dead simple, just a slightly elongated version of Tumbling Dice - to me, at least. It's the same shapes, the same fingerings, just sort of drawn out a bit... That riff reminds me of an early Motown thing, a Marvin Gaye thing like Stubborn Kind of Fellow or You're a Wonderful One or Can I Get a Witness. It's a basic Motown riff, really; we've just jazzed it up with some technology.

- Keith Richards, 1985



Back To Zero (Interesting... but FAIL)

Nothing to provide here from [timeisonourside.com] because, well, duh.


Dirty work (Solid)

Nothing worth quoting.


Had It With You (nice)

Stones imitating Stones-by-numbers Stones. As Keith pointed out:

Yeah, the basic track was cut with Charlie on drums, me on guitar and Mick on vocal and harp. We tried it with the full band and we realized we were just sounding like the Rolling Stones doing the Rolling Stones' favorite sort of Ye Olde Famous Rolling Stones Sound. But then, when we took the bass and the piano and the extra guitars off, it just sat right on the button. It came off sounding like a live radio broadcast that way. And at a slightly later date Ronnie and I did one overdub at the same time. But, I mean, there's nothing in the RULE BOOK that says you've GOT to have a bass on there. And then there's that middle breakdown part that almost trips over itself (laughs). Cutting a good blues track is not easy: it's all been done a million times, and to add something new to it is not so much a matter of THOUGHT as FEEL.
- Keith Richards, 1985


Sleep Tonight (Lovely)

Amazingly, Keith did not, and has not ever, figured out that he ripped himself off: the song is the bridge from Coming Down Again.


I wrote that one at the piano when there was nobody else there except Woody and me - Woody plays drums on that one. So he was sitting at the kit, I was stitting at the piano, and I got this sequence together. I mean, it's one of those songs that I write occasionally where I say, Hey, I didn't write this, this is memory playing tricks with me, this is somebody else's song (laughs). It's happened to me before, with All About You, which I kept in the can for four or five years while I kept playing it for everybody I knew with a grounding in songwriting, because I kept thinking, This sequence does NOT come from me, this is NOT my shit... Sleep is like that for me because of all the weird modulations. The chorus is virtually a doo-wop chorus in C, but then the verses modulate quite naturally into another key. I had to wait for other people to convince me to go ahead with it; for a while I was saying, This is all good fun but we're wasting time, because I'm SURE this is somebody else's song (laughs).

- Keith Richards, 1985

It was HIS song.


Overall no better, by far as the furthest planet, than anything from 1994 onward.

[timeisonourside.com]

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GasLightStreet

Winning ugly (Dogshit in the doorway 2)

Notice Keith doesn't actually say anything ABOUT the song:

The original track had two guitars, Woody and me, and then I think we put another couple on there that we used in and out. Then there's that lick: everybody keeps asking me to show them how to play it. I feel like I could make a living off teaching guitar players how to play that lick (laughs). But it's dead simple, just a slightly elongated version of Tumbling Dice - to me, at least. It's the same shapes, the same fingerings, just sort of drawn out a bit... That riff reminds me of an early Motown thing, a Marvin Gaye thing like Stubborn Kind of Fellow or You're a Wonderful One or Can I Get a Witness. It's a basic Motown riff, really; we've just jazzed it up with some technology.

- Keith Richards, 1985

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Nikkei

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GasLightStreet

Winning ugly (Dogshit in the doorway 2)

Notice Keith doesn't actually say anything ABOUT the song:

The original track had two guitars, Woody and me, and then I think we put another couple on there that we used in and out. Then there's that lick: everybody keeps asking me to show them how to play it. I feel like I could make a living off teaching guitar players how to play that lick (laughs). But it's dead simple, just a slightly elongated version of Tumbling Dice - to me, at least. It's the same shapes, the same fingerings, just sort of drawn out a bit... That riff reminds me of an early Motown thing, a Marvin Gaye thing like Stubborn Kind of Fellow or You're a Wonderful One or Can I Get a Witness. It's a basic Motown riff, really; we've just jazzed it up with some technology.

- Keith Richards, 1985

The quote is from 1985, before the album was even out, yet he claims that everyone and their dog is asking him about the lick?

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Big Al

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GasLightStreet
Wrong. TATTOO YOU is a KILLER album. How and why you can not fathom that... you think DIRTY WORK is good, has "its moments". No it doesn't. That says enough.

I’m in complete agreement with you. It’s absolutely killer, indeed. Actually, I far prefer it to Some Girls.

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24FPS

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Big Al

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GasLightStreet
Wrong. TATTOO YOU is a KILLER album. How and why you can not fathom that... you think DIRTY WORK is good, has "its moments". No it doesn't. That says enough.

I’m in complete agreement with you. It’s absolutely killer, indeed. Actually, I far prefer it to Some Girls.

If they could have started Side Two with Start Me Up, they would have had half a killer album. Some Girls would have been an even better album if Claudette had replaced Lies. (They're very similar.) I love half of Tattoo You. Long Black Limousine was fantastic live. Dirty Work? Harlem Shuffle is their last great single. Bill kills it. One Hit has some nice crunchy guitars. Too Rude is good. Winning Ugly has great lyrics. There's a lot of bad production on Dirty Work, but Undercover simply blows, excepting UOTN.

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bakersfield
I'm sorry Treaclefingers but I agree with 24FPS, Winning Ugly is a great lyric, about the world economic order and how the deck is stacked in our favour. I think it's pretty clever to deal with heavy topics in a song without treading on the beat. You could say the same (and Jagger has) about Undercover of the Night.

By the way, 24FPS, if you don't mind me asking, what does your name mean?

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bakersfield
Dear Gas Light Street

I think I see why you chose to be "Gas light Street'; it's so you can gas light other contributors to this forum lol.

A while ago, having heard the term used on the media, I had to ask my grown up daughter what 'gas lighting' meant and apparently, in a nutshell, it is convincing other people that there is something wrong with them. Given your relentless presentation of opinions as facts there's a delicious irony in your IORR name.

I hope you will see the funny side

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treaclefingers

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bakersfield
I'm sorry Treaclefingers but I agree with 24FPS, Winning Ugly is a great lyric, about the world economic order and how the deck is stacked in our favour. I think it's pretty clever to deal with heavy topics in a song without treading on the beat. You could say the same (and Jagger has) about Undercover of the Night.

By the way, 24FPS, if you don't mind me asking, what does your name mean?

How are the lyrics 'clever' when he's beating us over the head with it? There's nothing in the slightest clever about the lyrics. "The Sunshine Bores The Daylights Out of Me" is clever.

"I Wanna Be On Top, forever on the up and damn the competition" is obvious and mundane. A while back I compared it to "Let's Work" and it's really the lyrics I was thinking about. "Let's Work, be proud, stand tall...man and a woman, be free, let's work, kill poverty".

OK, I'll give you Let's Work is worse, but Winning Ugly is brutal.

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bakersfield
I'm sorry Treaclefingers but I agree with 24FPS, Winning Ugly is a great lyric, about the world economic order and how the deck is stacked in our favour. I think it's pretty clever to deal with heavy topics in a song without treading on the beat. You could say the same (and Jagger has) about Undercover of the Night.

By the way, 24FPS, if you don't mind me asking, what does your name mean?

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bakersfield
Dear Gas Light Street

I think I see why you chose to be "Gas light Street'; it's so you can gas light other contributors to this forum lol.

A while ago, having heard the term used on the media, I had to ask my grown up daughter what 'gas lighting' meant and apparently, in a nutshell, it is convincing other people that there is something wrong with them. Given your relentless presentation of opinions as facts there's a delicious irony in your IORR name.

I hope you will see the funny side

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Nikkei

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GasLightStreet

Winning ugly (Dogshit in the doorway 2)

Notice Keith doesn't actually say anything ABOUT the song:

The original track had two guitars, Woody and me, and then I think we put another couple on there that we used in and out. Then there's that lick: everybody keeps asking me to show them how to play it. I feel like I could make a living off teaching guitar players how to play that lick (laughs). But it's dead simple, just a slightly elongated version of Tumbling Dice - to me, at least. It's the same shapes, the same fingerings, just sort of drawn out a bit... That riff reminds me of an early Motown thing, a Marvin Gaye thing like Stubborn Kind of Fellow or You're a Wonderful One or Can I Get a Witness. It's a basic Motown riff, really; we've just jazzed it up with some technology.

- Keith Richards, 1985

The quote is from 1985, before the album was even out, yet he claims that everyone and their dog is asking him about the lick?

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treaclefingers

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24FPS

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Big Al

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GasLightStreet
Wrong. TATTOO YOU is a KILLER album. How and why you can not fathom that... you think DIRTY WORK is good, has "its moments". No it doesn't. That says enough.

I’m in complete agreement with you. It’s absolutely killer, indeed. Actually, I far prefer it to Some Girls.

If they could have started Side Two with Start Me Up, they would have had half a killer album. Some Girls would have been an even better album if Claudette had replaced Lies. (They're very similar.) I love half of Tattoo You. Long Black Limousine was fantastic live. Dirty Work? Harlem Shuffle is their last great single. Bill kills it. One Hit has some nice crunchy guitars. Too Rude is good. Winning Ugly has great lyrics. There's a lot of bad production on Dirty Work, but Undercover simply blows, excepting UOTN.

I was trying to see your side of the argument, but when I got to the bolded statement your credibility took a swan dive.

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GasLightStreet

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Stoneage
Imagine a Dirty Work deluxe reissue. Maybe 8 new tracks from the DW sessions. And a new cartoon. Wouldn't that be something? Or maybe not...

It was reissued - in 1987 as PRIMITIVE COOL, which, barely, has much better songs on it.