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DoxaQuote
paulspendel
Artists in their 'late days' tend to minimalise their sound. Look at Cash, look at Solomon Burke. An intimate, warm sound with a basic band. Downplaying to get the opposite effect, if you get my drift. From the two first songs I derive they opted for a more orchestral, big sound.Nothing wrong with that. I would have preferred a smaller bang instead of a bigger bang looking at the phase their career is in.
I can see your point, but at the same time I find the Stones doing exactly a Stonesian thing: to not act like the artists tend to act in their 'late days'. No scaling down, no growing up gracefully, just pushing forward, and hopefully, even with a bigger bang than before...
- Doxa
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bitusa2012
So I left this alone for Sunday and this morning here in Perth today just to see if, after a break from it, it would have the same emotional impact.
Cranked it up, and hit play. For me the last two minutes prior to the drop out/ start again, and the whole last 2 minutes of “coda” are amongst the most beautiful, powerful, soulful, ESSENTIAL and primal Stones ever recorded.
I love the whole song, but the last four minutes are other-worldly. Just, dare I say it, heavenly.
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retired_dogQuote
goingmadQuote
DandelionPowdermanQuote
marcovandereijk
How about Saint of me as a gospel inspired song?
I think Billy Preston (he went to church in Brussels?) is the first one to bring some
gospel into the music, as he did on Shine a Light and Saint of me.
And isn't Salt of the Earth also an example of the Stones flirting with gospel?
Indeed. There is certainly a gospel-vibe (especially) in the beginning of Saint Of Me. Both Salt Of The Earth and YCAGWYW are gospel-tinged.
The ones I remember are:
Salt of the earth
YCAGWYW
Shine a light
Let it loose
I just wanna see his face
Saint of me
Sweet sounds of heaven
I would add "Continental Drift" to the list. It's not gospel in the traditional western sense, but still..
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xke38Quote
retired_dogQuote
goingmadQuote
DandelionPowdermanQuote
marcovandereijk
How about Saint of me as a gospel inspired song?
I think Billy Preston (he went to church in Brussels?) is the first one to bring some
gospel into the music, as he did on Shine a Light and Saint of me.
And isn't Salt of the Earth also an example of the Stones flirting with gospel?
Indeed. There is certainly a gospel-vibe (especially) in the beginning of Saint Of Me. Both Salt Of The Earth and YCAGWYW are gospel-tinged.
The ones I remember are:
Salt of the earth
YCAGWYW
Shine a light
Let it loose
I just wanna see his face
Saint of me
Sweet sounds of heaven
I would add "Continental Drift" to the list. It's not gospel in the traditional western sense, but still..
I'd also add Loving Cup.
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1962[u
[/u]]
From a musical point of view, several songs show a gospel influence:
Thief in the Night
Baby Break It Down
She Smiled Sweety (originally "He")
The Last Time (adapted from an old gospel song)
You Gotta Move (originally a gospel)
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powerage78
Lady Gaga contribution to this track is essential.
It's hard to imagine a live version without her presence, when everyone will remember the studio version. Not to mention her missing stage presence...
Frankly, and no offense to anyone, how are they going to perform this without Lady Gaga live?
As for Stevie Wonder, I'm already dreading Chuck Leavell's intervention.
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Virgin Priest
First of all: in the pre-internet era, it was much easier to listen (and enjoy) new Stones music on a unbiased base.
Now, listening for a new song for the first time, I catch myself thinking “Mr. X wrote, the guitars are to low in the mix. I must give a close listen!“, or “Someone said, the bridge is poor. I´ll check it out!“
Maybe we left Covid behind, but sometimes I think, there´s another virus circulating among us, I call it “overanalyzing“. But hey, noone forces me to read this forum almost every day. Quite the opposite: I love sharing your thoughts and reviews!!
I remember an interview from 1974. Keith said (analogous): “Whenever we release new music, people have certain expecations. In the listener´s mind, our older songs are connected with memories and emotions. Our new songs are not, so they may sound bland.“
But now............ BANG!!!! SWEET SOUNDS OF HEAVEN!!!
No memories so far, no former emotions (maybe it will be connected with the day, I fired my roommate out of our shared appartment).
But I love the song instantly.
SSOH is mesmerising, amazing, overwhelming.
Maybe I´m the only one, who loves the bridge. I think, it fits the song perfectly.
My prediction: SSOH soon will have a status as a hidden masterpiece, like MOONLIGHT MILE, LOVING CUP, SHINE A LIGHT or WORRIED ´BOUT YOU.
Priest
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EasterManQuote
Rip This
BEING NEGATIVE JUST TO BE DIFFERENT OR BE CONTROVERSIAL IS BORING AND A WASTE OF TIME.....SORRY BUT CRITICISM OF WATT IS UNWARRANTED...HE MADE 80 YEAR OLDS SOUND RELEVANT...THEY HAVE A HIT...SO JUST STOP. THANKS.
btw here's a great article with A Watt
[www.billboard.com]
Everyone is entitled to their own opinion. I think it's a good song but it's not in my top-100 Stones songs.
The bridge (influenced by Andrew or not) is very posh sounding for a Stones song. And the lyrics "always need a target for your bow and arrow" is a bit cringe.
Some people prefer a cleaner more modern sound, and that's totally fine. Personally I prefer the stripped down almost underproduced sound of A Bigger Bang.
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Rip This
I don't understand people using the term "posh" to subscribe some kind of negative element....they are RICH...very rich men of wealth and tatse...to the tune of $500 M so I'm really not sure what point your trying to make....
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WuudyQuote
powerage78
Lady Gaga contribution to this track is essential.
It's hard to imagine a live version without her presence, when everyone will remember the studio version. Not to mention her missing stage presence...
Frankly, and no offense to anyone, how are they going to perform this without Lady Gaga live?
As for Stevie Wonder, I'm already dreading Chuck Leavell's intervention.
I reckon we thought the same of Gimme Shelter. How would that work live without Mary Clayton. I love the the '72/'73 version without female vocals and of course Lisa Fischer did an amazing job that I never heard anyone top. Paradiso 1995 is just from another world.
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HardRiffinQuote
WuudyQuote
powerage78
Lady Gaga contribution to this track is essential.
It's hard to imagine a live version without her presence, when everyone will remember the studio version. Not to mention her missing stage presence...
Frankly, and no offense to anyone, how are they going to perform this without Lady Gaga live?
As for Stevie Wonder, I'm already dreading Chuck Leavell's intervention.
I reckon we thought the same of Gimme Shelter. How would that work live without Mary Clayton. I love the the '72/'73 version without female vocals and of course Lisa Fischer did an amazing job that I never heard anyone top. Paradiso 1995 is just from another world.
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yeababyyeaQuote
Rip This
I don't understand people using the term "posh" to subscribe some kind of negative element....they are RICH...very rich men of wealth and tatse...to the tune of $500 M so I'm really not sure what point your trying to make....
Posh when talking about songwriting, is more referring to musically complex or pretentious. It has nothing to do with how wealthy the performers are.
The bridge chord progression is something like Gm F/A Bb G7/B F, which is more fancy than most Stones songs.