QuoteStones50 GOATS HEAD SOUP, IORR, and BLACK AND BLUE. And it was over. Um, doh, only three of their best albums. To be followed by classics in the form of SG and TY I don't think Black % Blue is anything close to one of their great albums.
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Tom Waits, Little Red Rooster. No contest.
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Really appreciate LongBeachArena72's posts. Very thoughtful and wide-ranging.
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QuoteLongBeachArena72 By as early as 1972 the wheels were coming off. New guitarist in tow, they had found their way into a voodoo trance blues in Nov 69 that they would never top. You could hear it in their performances. Mick, never ever so vulnerable, so soulful, so angry again. Mick Taylor weaving dreams in "Love in Vain" and "I'm Free" and then he and Keith burning
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QuoteStoneburst Quoteduke richardsonso to jump in on a conversation betweenst you two, regarding blowback about dropping Taylor,because the agreed-upon time for him to participate had ended - I wish there was some blowback. but there isn't, just great shows with no Mick Taylor. its just their way of going about things. what a great musical, artistic difference if Mick Taylor had
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Quotelatebloomer Quotekleermaker Latebloomer, I really think you would have the same reaction as I have when you had heard the Stones with Taylor in 1973. It's not so much "prideful", it's being extremely sensitive for the emotional effects of music. When I attended that Stones concert in 1973 I just listened to it as I later listened to Mozart's Requiem and his big four
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QuoteDoxa Since 71Tele is here, I need to mention that the most hilarous moment in that banned clip was that of Mr. H asking the people who thought Ronnie was a good replacement to leave the room. Almost all disappeared expect three or so die-hard 'Taylorites'. That's a helluva analogy for the big-mouthed minority here, bounded to this very thread.... Can't stop laughing... &g
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Matt Clifford is onstage more than Mick Taylor was? If that doesn't say something about the priorities of the current version of the band, I'm not sure what does.
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Stray Cat actually has the same chords in the intro/verse as Sweet Home Alabama.
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QuoteStoneage Honestly I don't know where BV draws the line these days, Tele. So I deleted it twice for safety reasons. I hope you caught what I said. I will delete this one too. Glad to see that you are still on though. I didn't see it but that's ok. Don't risk yourself on my account. I was just having a little fun. It isn't the first time that irony wasn't unders
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Can Dave do a show with The Edge?
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QuoteStoneage - What happened?
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Yes! Fabulous. His LP with Elvis Costello was quite good too.
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QuoteRockman I knew I'd cop it ... Count me in the "pro-squealing" camp.
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Quoteflacnvinyl Bring back Stonestod! Word of the day!
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Beatles The Replacements Elvis Costello Tom Waits Leonard Cohen Bob Dylan Th Who
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Quotenick Quoteouroux58 I remember seeing Mick crying outside the studio, after a night of recording for dirty work in Paris. How did you see that? He had just seen the final cut of the "Let's Work" video.
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QuoteNaturalust Gotta love any song that has sweet Keith, Mick and MT harmonies like this one. Although the electric guitar is interesting I can help think think a steel guitar and more acoustic approach would have made this a country classic up there with Dead Flowers, Sweet Virginia and Far Away Eyes. I've thought that too, NL, but the version they did, with the GHS vibe, wah-wah, etc. i
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QuoteRockman Well to be fair Mick and Keith have not penned any since Bill left the Stones either, imo. Perhaps Bill was the magic catalyst? WELL Naturalust to put it another way ... Bill didn't actually pen many classics before HE left either Are you trying to tell me Downtown Suzie isn't a "classic", Rockman? Shame.
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Bill ended up on exactly half of Exile (despite his claims). The question for me is: Were any of his original bass tracks removed later in LA to make way for an "improved" bass track by Taylor or Keith? Perhaps he remembers playing on more tracks because he did, but his part was later replaced?
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Had it been released in the CD era, they probably would have added Criss Cross Man and Through The Lonely Nights and we would have all been happy.
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Murky, mysterious, and brilliant. Half country ballad, and half something completely different with wah-wah guitar and lovely harmonies. I used to spin the 45 B-side of IORR over and over, trying to get deeper into this track's mysteries.
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Yeah. With Bill on bass and Brian on sitar.
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Curse Sir Walter Raleigh, he was such a stupid get.
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Not just loud - super trebly. It certainly cuts through. Not sure it's my favorite Keith tone historically though.
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Quoteroller99 Quotemickschix As a Mick Jagger defender for the last ten years, I would be HAPPY if he read my comments.....most of them anyway. Even though I do wish for fewer WARHORSES and more DEEP CUTS, I think he would understand. It would not surprise me if band members posted here...boy, would I love to know Mick's username!! BV is MJ I don't think Mick Jagger takes himself a
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QuoteDandelionPowderman Quote71Tele This question has only one correct answer: It is "Pussy" from Bill Wyman's Monkey Grip album. Thank you very much. Good night. If you feel the same way tomorrow the next round´s on me I defend Monkey Grip with my life.
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This question has only one correct answer: It is "Pussy" from Bill Wyman's Monkey Grip album. Thank you very much. Good night.
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The "muddiness" (as has been pointed out) comes from flatwound strings and Bill's thumb picking technique. Not much different from McCartney's tone on the Hofner in the early days. The Chess and Chuck Berry records were mostly Willie Dixon playing an upright, which certainly is "muddy" compared to modern rock bass. The early 60s guys were going for that sound rather
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Maybe not best song, but yeah, the record is magical. They got some kind of alchemy on that track that takes me to another place every time. When the song is played live, it is merely a great Stones song. The LIB studio version though transcends that and raises the stakes for everything that came after it.
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