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Edward Twining
...although i don't think it's difficult to acknowledge a number of the songs aren't as meticulously crafted as those found on the Stones previous few albums....
...but then imagine the classic Tour of Europe 1973 without the GHS songs. As great as the 1972 U.S. Tour may have been, it was these new songs which highlighted the European concerts. They certainly had a new sound and 'updated' the shows.
I can still remember how excited we were in the mid-1970s when we were listeing to songs like Star star and Heartbreaker.
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Edward TwiningQuote
saltoftheearthQuote
Edward Twining
...although i don't think it's difficult to acknowledge a number of the songs aren't as meticulously crafted as those found on the Stones previous few albums....
...but then imagine the classic Tour of Europe 1973 without the GHS songs. As great as the 1972 U.S. Tour may have been, it was these new songs which highlighted the European concerts. They certainly had a new sound and 'updated' the shows.
I can still remember how excited we were in the mid-1970s when we were listeing to songs like Star star and Heartbreaker.
Yes, you are right, saltoftheearth. The GOATS HEAD SOUP album is, if anything, a much more contemporary sounding album than EXILE ON MAIN STREET, which was rooted more in the Stones more traditional country, blues and occasional gospel roots. With GOATS HEAD SOUP the Stones were being influenced by black seventies funk sounds on tracks like 'Heartbreaker', with the wah wah guitar, and the clavinet also, which features strongly on '100 Years Ago' too. The emphasis definitely begins to shift on GOATS HEAD SOUP, in terms of the use of ballads, also, which up until then had been more of a token gesture from the Stones, however great some of those previous ballads were. With GOATS HEAD SOUP, the ballads tend to become the aspects of the album, which, if anything, takes centre stage, especially with 'Coming Down Again', 'Angie' and 'Winter'. On those later two songs, and especially on 'Angie' Jagger sings in a very different way to how he had previously, and ever would again, within ballad form. He really does attempt a form of tenderness within his singing, with the use of his lighter, softer tone, which again places the song most definitely in a more contemporary frame than much of the Stones previous seventies releases. However, whatever the style on GOATS HEAD SOUP, be it rock, funk or more of a ballad type sound, the predominant impression one gets from listening to the album is that feeling of melancholly. Some of those songs, and especially the opener 'Dancing With Mr D', may be actually lacking in terms of being convincing in terms of song quality, but like many of the songs on this album, it is the overall mood which tends to override any shortcomings, especially if listened within the context of the album as a whole. The album is certainly more polished musically than EXILE, and the more traditional Stones influences do appear to be less prominant. In fact only on 'Hide Your Love' and 'Star Star', do the Stones really acknowledge those old blues and Chuck Berry influences, and in many ways 'Star Star' is actually the most untypical sounding song on the album, yet probably the most typical sounding Stones song relating to previous times.
The Stones on GOATS HEAD SOUP do sound a little less finely tuned than on those albums that came immediately before, almost as though they were a little fatigued, or the worse for wear. The music seems to be a little more frayed around the edges in many cases, and not so precise and focused. However, possibly apart from 'Dancing With Mr D' (and especially within the lyrics of that song), the Stones do not sound like the parody they would become on IT'S ONLY ROCK 'N' ROLL, where the stones-by-numbers approach first truly veers its ugly head. The Stones on GOATS HEAD SOUP still sound pretty vital, and important, as though their previous muse from the BEGGARS BANQUET-EXILE ON MAIN STREET was still active, but maybe a little less focused. By IT'S ONLY ROCK 'N' ROLL, that aspect may arguably have become irritrievably lost, within the triviality of the album's sound, and especially on that more consistent level, within the years to come.
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DandelionPowdermanQuote
Edward TwiningQuote
saltoftheearthQuote
Edward Twining
...although i don't think it's difficult to acknowledge a number of the songs aren't as meticulously crafted as those found on the Stones previous few albums....
...but then imagine the classic Tour of Europe 1973 without the GHS songs. As great as the 1972 U.S. Tour may have been, it was these new songs which highlighted the European concerts. They certainly had a new sound and 'updated' the shows.
I can still remember how excited we were in the mid-1970s when we were listeing to songs like Star star and Heartbreaker.
Yes, you are right, saltoftheearth. The GOATS HEAD SOUP album is, if anything, a much more contemporary sounding album than EXILE ON MAIN STREET, which was rooted more in the Stones more traditional country, blues and occasional gospel roots. With GOATS HEAD SOUP the Stones were being influenced by black seventies funk sounds on tracks like 'Heartbreaker', with the wah wah guitar, and the clavinet also, which features strongly on '100 Years Ago' too. The emphasis definitely begins to shift on GOATS HEAD SOUP, in terms of the use of ballads, also, which up until then had been more of a token gesture from the Stones, however great some of those previous ballads were. With GOATS HEAD SOUP, the ballads tend to become the aspects of the album, which, if anything, takes centre stage, especially with 'Coming Down Again', 'Angie' and 'Winter'. On those later two songs, and especially on 'Angie' Jagger sings in a very different way to how he had previously, and ever would again, within ballad form. He really does attempt a form of tenderness within his singing, with the use of his lighter, softer tone, which again places the song most definitely in a more contemporary frame than much of the Stones previous seventies releases. However, whatever the style on GOATS HEAD SOUP, be it rock, funk or more of a ballad type sound, the predominant impression one gets from listening to the album is that feeling of melancholly. Some of those songs, and especially the opener 'Dancing With Mr D', may be actually lacking in terms of being convincing in terms of song quality, but like many of the songs on this album, it is the overall mood which tends to override any shortcomings, especially if listened within the context of the album as a whole. The album is certainly more polished musically than EXILE, and the more traditional Stones influences do appear to be less prominant. In fact only on 'Hide Your Love' and 'Star Star', do the Stones really acknowledge those old blues and Chuck Berry influences, and in many ways 'Star Star' is actually the most untypical sounding song on the album, yet probably the most typical sounding Stones song relating to previous times.
The Stones on GOATS HEAD SOUP do sound a little less finely tuned than on those albums that came immediately before, almost as though they were a little fatigued, or the worse for wear. The music seems to be a little more frayed around the edges in many cases, and not so precise and focused. However, possibly apart from 'Dancing With Mr D' (and especially within the lyrics of that song), the Stones do not sound like the parody they would become on IT'S ONLY ROCK 'N' ROLL, where the stones-by-numbers approach first truly veers its ugly head. The Stones on GOATS HEAD SOUP still sound pretty vital, and important, as though their previous muse from the BEGGARS BANQUET-EXILE ON MAIN STREET was still active, but maybe a little less focused. By IT'S ONLY ROCK 'N' ROLL, that aspect may arguably have become irritrievably lost, within the triviality of the album's sound, and especially on that more consistent level, within the years to come.
Yeah, Edward, very much inspired by Stevie Wonder's sound.
I think it was kleermaker who wrote in another thread that the Stones started following the trends after 1974, but I think they started way earlier. Exile was a mish mash of blues/rock/country, just like The Band and other acts that increased in popularity at the time. The same goes for the Stones's' funky days, starting with GHS, continuing with IORR and BAB, even though the latter contained a wider range of musical styles.
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DandelionPowdermanQuote
Edward TwiningQuote
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Edward Twining
...although i don't think it's difficult to acknowledge a number of the songs aren't as meticulously crafted as those found on the Stones previous few albums....
...but then imagine the classic Tour of Europe 1973 without the GHS songs. As great as the 1972 U.S. Tour may have been, it was these new songs which highlighted the European concerts. They certainly had a new sound and 'updated' the shows.
I can still remember how excited we were in the mid-1970s when we were listeing to songs like Star star and Heartbreaker.
Yes, you are right, saltoftheearth. The GOATS HEAD SOUP album is, if anything, a much more contemporary sounding album than EXILE ON MAIN STREET, which was rooted more in the Stones more traditional country, blues and occasional gospel roots. With GOATS HEAD SOUP the Stones were being influenced by black seventies funk sounds on tracks like 'Heartbreaker', with the wah wah guitar, and the clavinet also, which features strongly on '100 Years Ago' too. The emphasis definitely begins to shift on GOATS HEAD SOUP, in terms of the use of ballads, also, which up until then had been more of a token gesture from the Stones, however great some of those previous ballads were. With GOATS HEAD SOUP, the ballads tend to become the aspects of the album, which, if anything, takes centre stage, especially with 'Coming Down Again', 'Angie' and 'Winter'. On those later two songs, and especially on 'Angie' Jagger sings in a very different way to how he had previously, and ever would again, within ballad form. He really does attempt a form of tenderness within his singing, with the use of his lighter, softer tone, which again places the song most definitely in a more contemporary frame than much of the Stones previous seventies releases. However, whatever the style on GOATS HEAD SOUP, be it rock, funk or more of a ballad type sound, the predominant impression one gets from listening to the album is that feeling of melancholly. Some of those songs, and especially the opener 'Dancing With Mr D', may be actually lacking in terms of being convincing in terms of song quality, but like many of the songs on this album, it is the overall mood which tends to override any shortcomings, especially if listened within the context of the album as a whole. The album is certainly more polished musically than EXILE, and the more traditional Stones influences do appear to be less prominant. In fact only on 'Hide Your Love' and 'Star Star', do the Stones really acknowledge those old blues and Chuck Berry influences, and in many ways 'Star Star' is actually the most untypical sounding song on the album, yet probably the most typical sounding Stones song relating to previous times.
The Stones on GOATS HEAD SOUP do sound a little less finely tuned than on those albums that came immediately before, almost as though they were a little fatigued, or the worse for wear. The music seems to be a little more frayed around the edges in many cases, and not so precise and focused. However, possibly apart from 'Dancing With Mr D' (and especially within the lyrics of that song), the Stones do not sound like the parody they would become on IT'S ONLY ROCK 'N' ROLL, where the stones-by-numbers approach first truly veers its ugly head. The Stones on GOATS HEAD SOUP still sound pretty vital, and important, as though their previous muse from the BEGGARS BANQUET-EXILE ON MAIN STREET was still active, but maybe a little less focused. By IT'S ONLY ROCK 'N' ROLL, that aspect may arguably have become irritrievably lost, within the triviality of the album's sound, and especially on that more consistent level, within the years to come.
Yeah, Edward, very much inspired by Stevie Wonder's sound.
I think it was kleermaker who wrote in another thread that the Stones started following the trends after 1974, but I think they started way earlier. Exile was a mish mash of blues/rock/country, just like The Band and other acts that increased in popularity at the time. The same goes for the Stones's' funky days, starting with GHS, continuing with IORR and BAB, even though the latter contained a wider range of musical styles.
The early 70s funky influence...as I previously mentioned (near the top of page 7)
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DandelionPowdermanQuote
WeLoveYouQuote
DandelionPowdermanQuote
Edward TwiningQuote
saltoftheearthQuote
Edward Twining
...although i don't think it's difficult to acknowledge a number of the songs aren't as meticulously crafted as those found on the Stones previous few albums....
...but then imagine the classic Tour of Europe 1973 without the GHS songs. As great as the 1972 U.S. Tour may have been, it was these new songs which highlighted the European concerts. They certainly had a new sound and 'updated' the shows.
I can still remember how excited we were in the mid-1970s when we were listeing to songs like Star star and Heartbreaker.
Yes, you are right, saltoftheearth. The GOATS HEAD SOUP album is, if anything, a much more contemporary sounding album than EXILE ON MAIN STREET, which was rooted more in the Stones more traditional country, blues and occasional gospel roots. With GOATS HEAD SOUP the Stones were being influenced by black seventies funk sounds on tracks like 'Heartbreaker', with the wah wah guitar, and the clavinet also, which features strongly on '100 Years Ago' too. The emphasis definitely begins to shift on GOATS HEAD SOUP, in terms of the use of ballads, also, which up until then had been more of a token gesture from the Stones, however great some of those previous ballads were. With GOATS HEAD SOUP, the ballads tend to become the aspects of the album, which, if anything, takes centre stage, especially with 'Coming Down Again', 'Angie' and 'Winter'. On those later two songs, and especially on 'Angie' Jagger sings in a very different way to how he had previously, and ever would again, within ballad form. He really does attempt a form of tenderness within his singing, with the use of his lighter, softer tone, which again places the song most definitely in a more contemporary frame than much of the Stones previous seventies releases. However, whatever the style on GOATS HEAD SOUP, be it rock, funk or more of a ballad type sound, the predominant impression one gets from listening to the album is that feeling of melancholly. Some of those songs, and especially the opener 'Dancing With Mr D', may be actually lacking in terms of being convincing in terms of song quality, but like many of the songs on this album, it is the overall mood which tends to override any shortcomings, especially if listened within the context of the album as a whole. The album is certainly more polished musically than EXILE, and the more traditional Stones influences do appear to be less prominant. In fact only on 'Hide Your Love' and 'Star Star', do the Stones really acknowledge those old blues and Chuck Berry influences, and in many ways 'Star Star' is actually the most untypical sounding song on the album, yet probably the most typical sounding Stones song relating to previous times.
The Stones on GOATS HEAD SOUP do sound a little less finely tuned than on those albums that came immediately before, almost as though they were a little fatigued, or the worse for wear. The music seems to be a little more frayed around the edges in many cases, and not so precise and focused. However, possibly apart from 'Dancing With Mr D' (and especially within the lyrics of that song), the Stones do not sound like the parody they would become on IT'S ONLY ROCK 'N' ROLL, where the stones-by-numbers approach first truly veers its ugly head. The Stones on GOATS HEAD SOUP still sound pretty vital, and important, as though their previous muse from the BEGGARS BANQUET-EXILE ON MAIN STREET was still active, but maybe a little less focused. By IT'S ONLY ROCK 'N' ROLL, that aspect may arguably have become irritrievably lost, within the triviality of the album's sound, and especially on that more consistent level, within the years to come.
Yeah, Edward, very much inspired by Stevie Wonder's sound.
I think it was kleermaker who wrote in another thread that the Stones started following the trends after 1974, but I think they started way earlier. Exile was a mish mash of blues/rock/country, just like The Band and other acts that increased in popularity at the time. The same goes for the Stones's' funky days, starting with GHS, continuing with IORR and BAB, even though the latter contained a wider range of musical styles.
The early 70s funky influence...as I previously mentioned (near the top of page 7)
I bet Mick catched Sly And The Family Stone already in the late 60s.
However, the Stones didn't become funky on record till after the 1972 tour with Stevie Wonder (CYHMK might be funky, but in a different way, imo). The year after, they hired Billy Preston in the tour lineup (yeah, I know he was on Exile, too), and he surely brought color to their sound.
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GetYerAngieQuote
DandelionPowdermanQuote
WeLoveYouQuote
DandelionPowdermanQuote
Edward TwiningQuote
saltoftheearthQuote
Edward Twining
...although i don't think it's difficult to acknowledge a number of the songs aren't as meticulously crafted as those found on the Stones previous few albums....
...but then imagine the classic Tour of Europe 1973 without the GHS songs. As great as the 1972 U.S. Tour may have been, it was these new songs which highlighted the European concerts. They certainly had a new sound and 'updated' the shows.
I can still remember how excited we were in the mid-1970s when we were listeing to songs like Star star and Heartbreaker.
Yes, you are right, saltoftheearth. The GOATS HEAD SOUP album is, if anything, a much more contemporary sounding album than EXILE ON MAIN STREET, which was rooted more in the Stones more traditional country, blues and occasional gospel roots. With GOATS HEAD SOUP the Stones were being influenced by black seventies funk sounds on tracks like 'Heartbreaker', with the wah wah guitar, and the clavinet also, which features strongly on '100 Years Ago' too. The emphasis definitely begins to shift on GOATS HEAD SOUP, in terms of the use of ballads, also, which up until then had been more of a token gesture from the Stones, however great some of those previous ballads were. With GOATS HEAD SOUP, the ballads tend to become the aspects of the album, which, if anything, takes centre stage, especially with 'Coming Down Again', 'Angie' and 'Winter'. On those later two songs, and especially on 'Angie' Jagger sings in a very different way to how he had previously, and ever would again, within ballad form. He really does attempt a form of tenderness within his singing, with the use of his lighter, softer tone, which again places the song most definitely in a more contemporary frame than much of the Stones previous seventies releases. However, whatever the style on GOATS HEAD SOUP, be it rock, funk or more of a ballad type sound, the predominant impression one gets from listening to the album is that feeling of melancholly. Some of those songs, and especially the opener 'Dancing With Mr D', may be actually lacking in terms of being convincing in terms of song quality, but like many of the songs on this album, it is the overall mood which tends to override any shortcomings, especially if listened within the context of the album as a whole. The album is certainly more polished musically than EXILE, and the more traditional Stones influences do appear to be less prominant. In fact only on 'Hide Your Love' and 'Star Star', do the Stones really acknowledge those old blues and Chuck Berry influences, and in many ways 'Star Star' is actually the most untypical sounding song on the album, yet probably the most typical sounding Stones song relating to previous times.
The Stones on GOATS HEAD SOUP do sound a little less finely tuned than on those albums that came immediately before, almost as though they were a little fatigued, or the worse for wear. The music seems to be a little more frayed around the edges in many cases, and not so precise and focused. However, possibly apart from 'Dancing With Mr D' (and especially within the lyrics of that song), the Stones do not sound like the parody they would become on IT'S ONLY ROCK 'N' ROLL, where the stones-by-numbers approach first truly veers its ugly head. The Stones on GOATS HEAD SOUP still sound pretty vital, and important, as though their previous muse from the BEGGARS BANQUET-EXILE ON MAIN STREET was still active, but maybe a little less focused. By IT'S ONLY ROCK 'N' ROLL, that aspect may arguably have become irritrievably lost, within the triviality of the album's sound, and especially on that more consistent level, within the years to come.
Yeah, Edward, very much inspired by Stevie Wonder's sound.
I think it was kleermaker who wrote in another thread that the Stones started following the trends after 1974, but I think they started way earlier. Exile was a mish mash of blues/rock/country, just like The Band and other acts that increased in popularity at the time. The same goes for the Stones's' funky days, starting with GHS, continuing with IORR and BAB, even though the latter contained a wider range of musical styles.
The early 70s funky influence...as I previously mentioned (near the top of page 7)
I bet Mick catched Sly And The Family Stone already in the late 60s.
However, the Stones didn't become funky on record till after the 1972 tour with Stevie Wonder (CYHMK might be funky, but in a different way, imo). The year after, they hired Billy Preston in the tour lineup (yeah, I know he was on Exile, too), and he surely brought color to their sound.
It is true that the funkyness was obvious by 1973 when Billy Preston entered. But whar about Monkey Man from LIB?
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Glam Descendant
>the Stones didn't become funky on record till after the 1972
"Jiving Sister Fanny" sounds pretty funky to me.
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kammpberg
Hi IORR,
I've been an avid reader and follower of IORR for years, but have never posted. I finally decided to give it a try. Goats Head Soup was the first Stones album I ever bought when it actually came out, so I have special feelings for it. Here's a review I wrote about it a couple of years ago.
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Toru AQuote
kammpberg
Hi IORR,
I've been an avid reader and follower of IORR for years, but have never posted. I finally decided to give it a try. Goats Head Soup was the first Stones album I ever bought when it actually came out, so I have special feelings for it. Here's a review I wrote about it a couple of years ago.
Nice review.
I don't think GHS is the most underrated album.
Anyway, Stones released three albums from 73 to 75. (GHS-1973, IORR-1974 and B&B-1975)
Considering these, what a great achievement they have made in those years!
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kammpberg
Stones Fan – *****
Casual Listener - ****
A nice guitar solo starts to kick in and Hide Your Love builds in its power. What at first seems like a loose jam starts to coalesce into a fun loose song. Exile has a few of these type of jam songs, and Hide Your Love is just as good as them.
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GravityBoy
Great review by kammpberg.
I wholeheartedly agree.
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57LesPaulSpecialQuote
GravityBoy
Great review by kammpberg.
I wholeheartedly agree.
Me too. Nice job, kammpberg.
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Toru A
@Koh Hasebe
This is a photo from Terra Nova Hotel, Jamaica in 1972.
There's Paul Rodgers between Taylor and Charlie.
Does he have any involvement in Jamaican recording?
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drewmasterQuote
57LesPaulSpecialQuote
GravityBoy
Great review by kammpberg.
I wholeheartedly agree.
Me too. Nice job, kammpberg.
Yes, well done.
I love GHS partly because, more than any other Stones album, it so brilliantly captures the dreamy, gauzy, ethereal feeling of being on an opiate high.
Drew
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71Tele
GHS was the first Stones album that I had the pleasure of anticipating the release of and getting when it first came out. I discovered (or rather immersed myself in, as I was already aware of them) the Stones through Hot Rocks, and then worked my way backwards through the various records and phases. But GHS was the first one where I got to experience that delicious anticipation of a new Stones record, so it will always have a dear place in my heart. Plus, I just think the melancholy mood of the album is unique - it's an emotional place they had not gone to before. the sense of weariness, fatigue, wistfulness and longing is not what we expected from the band. It still has that effect on me today, where most of the ones that came after don't leave me with any particular feeling (excepting Some Girls and Tattoo You).
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MileHigh
Hot Rocks certainly spawned a whole generation of Stones fans that were just too young to have gotten it in the late Sixties and very early Seventies.
I remember some GHS song names were leaked in the summer of '73 and we wondered what they were all about just from the titles. Then Angie was heard on the radio for months.
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Toru A
Keith Richards 1972 Kingston, Jamaica
photograph taken by Koh Hasebe
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Erik_SnowQuote
Toru A
Keith Richards 1972 Kingston, Jamaica
photograph taken by Koh Hasebe
Hmmm...I thought that was from the early 1972, in Los Angeles, taken by Jim Marshall....
I still think so.
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Glam Descendant
>the Stones didn't become funky on record till after the 1972
"Jiving Sister Fanny" sounds pretty funky to me.