Oh...?

Always the dissatisfaction with how a song was created, here The Rolling Stones, Lady Gaga, Stevie Wonder and Andrew Watt deliver a masterful musical performance.
This song has much more power than the track I've Got Dreams to Remember on Fully Finished Outtakes.
For God's sake, be happy that you can hear Sweet Sounds Of Heaven and that after 60 years of making music.
All those complaining people who, since the Undercover period, stood still in the period 1963-1981 and only talk about everything after that time about how good it was 40 years ago, well, find another band to be a fan of.

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UrbanSteel
Always the dissatisfaction with how a song was created, here The Rolling Stones, Lady Gaga, Stevie Wonder and Andrew Watt deliver a masterful musical performance.
This song has much more power than the track I've Got Dreams to Remember on Fully Finished Outtakes.
For God's sake, be happy that you can hear Sweet Sounds Of Heaven and that after 60 years of making music.
All those complaining people who, since the Undercover period, stood still in the period 1963-1981 and only talk about everything after that time about how good it was 40 years ago, well, find another band to be a fan of.

agreed!

This track is a true diamond and masterpiece!
All together The Stones, Lady G, Stevie..the sound, the voices, the music.
They way they mixed it is perfect.
It's just pleasant to listen, stays in your head, you want more...

Pure Stones we know from old (good) times.

I love it from first listening.

6pm yesterday, or just before; listened 7 or 8 times yesterday evening. A truly wonderful track. Can't wait for the album.

Love it. Imagine if they'd got Mick Taylor for a solo over the outro!

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microvibe
mick taylor would of been great on this track!

Yes, indeed!!

I love how Lady sings the word "wine"...

My first impression when starting to listen was that it reminded me of "Fast Talking, Slow Walking" from TY Deluxe. The melody, transitions and basic chords as well as Mick's vocals are close to this track.

It's well played and recorded ... and yes I share the opinion that a darker female voice would have been fitting better. But overally speaking, it's a good song, which may grow during several listenings.

Tears in my eyes !!

What a fantastic track, they can still do it !!

Hot take on this after 6 listens. I prefer the edited version, for me it has even more of an EOMS vibe. Also I have to say I rate this as a 7/10, alongside Angry. Best track I've heard so far off new album is Get Close, sounds like a near-classic to these ears. Depending on You sounds like a quality track of a Mick album, maybe 6-7 out of 10 for me. Big thing is that so far not a single dud. I really want there to be at least one up-tempo rocker, maybe that'll be "Live by the Sword", or, "Don't Bite my Head Off."

Finally, as someone else has said - apart from Get Close, so far I'm missing a big, catchy chorus to any of the songs. The vibe is super powerful tho!

they still make a grown man cry... what a great song!

sjouke

No "cathy chorus", not on any of these songs??? How about Angry with me? The song IS one BIG catchy chorus, with two added parts inbetween (bridges or whatever you call it in english) and then there´s two minutes of repetition building up...all the way to the end. But you dont think it´s catchy, mr Loveinvain69? A very complicated melody? Hard to follow or sing along to? Nothing the crowd will shout for five minutes in the stadium? Ooooo, dont get angry with me! Well, I rest my case. Have a nice day and I respect your opinion. But I´ll stick to mine.

Like on Angry there is a final part of the song that really takes off. The coda on SSOH is up there with the codas on CYHMK and How Can I Stop. Fantastic!

A fruitful collaboration with Andrew Watt, I'd say!

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gotdablouse

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plusplusjames

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Mr. Jimi
Not that anyone values my opinion but I like it, but I don't love it. I've listened to both versions a few times now and the production and instruments are top notch. My criticism is like Angry, there is no repeating chorus (same lyric) that I can latch on to. So for me both songs, and I do like them both, do not have that consistent chorus hook that draws me in and keeps me coming back. Again just me, I actually like Mick's vocals.

You’re right Mr. Jimi. There is no repeating chorus. The whole thing is just a repeating chord of Dreams to Remember, with vocal riffs on sweet sound this and sweet sound that. I particularly like the call and response, first Mick calling and then Gaga responding. In the coda, they reverse. Very sweet to be licked this way….

That's my problem with the song, they took DTR and grafted a couple of Stonesy sections and a forced bridge ( ala Slipping Away). If I'm honest I prefer the great 85 version of DTR from FFSO with some actual/audible guitar work/weaving and Charlie's terrific beat/breaks...but recognize of course that it has no mainstream/commercial appeal like SSOH.

Also what happened with the credits since last week?! The bass from Watt to Keith and Matt's B3 gone, I can hear an organ part though!

Ear buds will fix your hearing a bit. You can’t hear the guitars in SSOH? Wow.

Rod

Is it Keith again on bass? The lead guitar does not sound like Keith, it’s more like Ronnie or Waddy.

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Sjouke
they still make a grown man cry... what a great song!

sjouke

Amen.

Lady Gaga on Instagram. She's such a treasure.

[www.instagram.com]

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bitusa2012

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gotdablouse

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plusplusjames

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Mr. Jimi
Not that anyone values my opinion but I like it, but I don't love it. I've listened to both versions a few times now and the production and instruments are top notch. My criticism is like Angry, there is no repeating chorus (same lyric) that I can latch on to. So for me both songs, and I do like them both, do not have that consistent chorus hook that draws me in and keeps me coming back. Again just me, I actually like Mick's vocals.

You’re right Mr. Jimi. There is no repeating chorus. The whole thing is just a repeating chord of Dreams to Remember, with vocal riffs on sweet sound this and sweet sound that. I particularly like the call and response, first Mick calling and then Gaga responding. In the coda, they reverse. Very sweet to be licked this way….

That's my problem with the song, they took DTR and grafted a couple of Stonesy sections and a forced bridge ( ala Slipping Away). If I'm honest I prefer the great 85 version of DTR from FFSO with some actual/audible guitar work/weaving and Charlie's terrific beat/breaks...but recognize of course that it has no mainstream/commercial appeal like SSOH.

Also what happened with the credits since last week?! The bass from Watt to Keith and Matt's B3 gone, I can hear an organ part though!

Ear buds will fix your hearing a bit. You can’t hear the guitars in SSOH? Wow.

Yeah, the guitars are crystal clear and beautiful.

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padre69
Is it Keith again on bass? The lead guitar does not sound like Keith, it’s more like Ronnie or Waddy.

Keith left, Ronnie right. They both play lead/rhythm. Mick adds to the power chords towards the end and in the coda.

I finally got to play it on my new headphones back at home, which sound like you've put a couple of rooms around your ears. Fantastic, so much fine detail in the song, so much to swim in.The guitars are marvellous, Ronnie's licks, Keith's cuts, and Stevie - fantastic. Keith on bass gets to the root of it all and holds up the trunk, and Mick and Gaga - they just flow. ANd the horns, so great to hear that again on a Stones song.
This is so brilliant, the album is gonna be a great one, I am pretty sure, though still have only heard these two, but I predict it's shaping up to be their Rough and Rowdy Ways - as good an album as Dylan ever made - and Hackney Diamonds I reckon will be up there. As good as anything they have done - cos it had to be...

At the end of the video interview with MIck on Sweet Sounds, a couple of pages back, there is snatch of music with some bass going on - is that the Macca track?

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padre69

Is it Keith again on bass?

That's what the credits say (TIDAL, Qobuz, YouTube, Apple Music) - but they may contain errors.

It's a cracking little song, a real late career gem with big nods to the gospel tracks on Exile. Well done lads, back of the net.

Somehow it reminds me For Your Precious Love

I’d really love to hear from Andrew Watt about the making of this record.

It’s obvious he’s a fan. I’ve read he wore a different Stones tshirt every day to the studio. But I’d really love to read from him what it was like working with The Stones.

In due course it may come…

Rod

Love it.

Guests or no guests...this sounds like my Rolling Stones.

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bitusa2012

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gotdablouse

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plusplusjames

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Mr. Jimi
Not that anyone values my opinion but I like it, but I don't love it. I've listened to both versions a few times now and the production and instruments are top notch. My criticism is like Angry, there is no repeating chorus (same lyric) that I can latch on to. So for me both songs, and I do like them both, do not have that consistent chorus hook that draws me in and keeps me coming back. Again just me, I actually like Mick's vocals.

You’re right Mr. Jimi. There is no repeating chorus. The whole thing is just a repeating chord of Dreams to Remember, with vocal riffs on sweet sound this and sweet sound that. I particularly like the call and response, first Mick calling and then Gaga responding. In the coda, they reverse. Very sweet to be licked this way….

That's my problem with the song, they took DTR and grafted a couple of Stonesy sections and a forced bridge ( ala Slipping Away). If I'm honest I prefer the great 85 version of DTR from FFSO with some actual/audible guitar work/weaving and Charlie's terrific beat/breaks...but recognize of course that it has no mainstream/commercial appeal like SSOH.

Also what happened with the credits since last week?! The bass from Watt to Keith and Matt's B3 gone, I can hear an organ part though!

Ear buds will fix your hearing a bit. You can’t hear the guitars in SSOH? Wow.

Always happy to be abrasive I see, how appalling...Go listen to "Dreams to Remember" and you'll hopefully understand what I mean by actual/audible/weaving guitar parts.

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IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

Love it ...

Guests or no guests ...this sounds like my Rolling Stones

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MadMetaphoricalMax
At the end of the video interview with MIck on Sweet Sounds, a couple of pages back, there is snatch of music with some bass going on - is that the Macca track?

At what point exactly in the video ?

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IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

Translated from

[elpais.com]


[12ft.io]


It had been 54 years since the Rolling Stones had included a song this long on a studio album. From the classic You Can't Always Get What You Want, from the album Let It Bleed, from 1969. That one lasted 7 minutes and 28 seconds. Sweet Sound Of Heaven clocks in at 7 minutes and 22 seconds. It is the second song released from the group's new work, titled Hackney Diamonds, which contains 12 pieces and will go on sale on October 20.

In addition to its long duration, Sweet Sound Of Heaven offers the incentive of having the collaboration of Lady Gaga on vocals and Stevie Wonder on keyboards. Unlike the rock 'n' roll energy of Angry, Hackney Diamonds' first single, this piece is a beautiful soul plea with gospel touches about music as salvation. “I hear the sweet sounds of the sky falling to the earth. / I hear the sweetest sounds of heaven drifting down,” Jagger intones at the beginning of the song behind a bluesy piano by Stevie Wonder, who also plays the organ. Lady Gaga enters in the second minute giving a soft reply to the singer to go higher and higher until she reaches ecstasy. “Let no woman or child go hungry tonight. / Please protect us from pain and harm,” the two sing, as if they were in a church in the Bronx on a Sunday morning. The song seems to end at a given moment, but Gaga laughs and begins an improvisation of more than two minutes in which she especially shines while Jagger encourages her: “Come on, come on, come on.” Sweet Sound Of Heaven is signed by Mick Jagger and Keith Richards. Along with the album version, a shorter one, five minutes long, has been released.


Lady Gaga and the Rolling Stones had already collaborated, but in concert. The New York singer went on stage to respond to Mick Jagger in the turbulent Gimme Shelter. Her involvement in Hackney Diamonds was serendipitous. While the Stones were recording the album, Gaga was recording vocals for a new album in an adjacent studio. She wanted to enter the Stones' room, simply to enjoy herself. She sat in the corner, curled up and watched. When the group was recording Sweet Sound Of Heaven, she let out a few “oooh, uuuuh”. Jagger noticed and said, “Let's do it right.” And he gave him a microphone. Gaga got up from the ground, began to interact with Jagger's voice and they recorded the song.

Nor is it the first time that the Stones have partnered with Stevie Wonder. The most notable dates back to 1972, when the British group took Wonder on tour to open their concerts. Jagger and Richards adored Wonder, in a state of supreme grace that year, in which he released two colossal albums, Music of My Mind and Talking Book. The tour was very good for Wonder because he had never played before so many thousands of people, most of them white. This tour helped him penetrate a market where he was not established.

In addition to opening the Stones' concerts, Wonder performed songs with the group on some dates. They began with a piece of his, Uptigh (Everything's Alright), which they joined with (I Can't Get No) Satisfaction. The Stones never played their big hit in such a funk tone. The stage then became a party with the Rolling Stones and Wonder's band practicing rock and funk. In the end, Jagger went to find Wonder at the piano and take him to the center of the stage to perform a wild dance together. You can see it in this video:



Edited 1 time(s). Last edit at 2023-09-29 13:09 by emotionalbarbecue.