Yeah, I get that. I also like CH and think he's had great input in Hackney Diamonds, more than some give him credit for. I tried to explain how a creative well can run dry without new input, but I didn't mean it in a negative sense at all, because I like most of the songs he writes and of course love the style.
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I mean, this tune has been around for at least eight years now. They sure all must have been inspired to try it again and again and even though the result sounds a bit like a textbook Stones tune, everyone of the three main guys demonstrate their role in this band beautifully and I don't think anybody sounds unsatisfied or uninspired. I think it is true that the songs Keith has written i
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During the verses I'm quite sure it's Keith also on guitar. Maybe also the guitar in the chorus that just hits long chords could be him. But then it's probably Andrew who takes over the funky part in the bridge and the outro, but his guitar is situated at the very same spot in the stereo image as Keith's during the verses so you don't really notice the change. The bright,
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I think "quality" is just the wrong category for comparisons in music and especially in the Stones' catalogue. I would neeever say Emotional Rescue or Undercover are better than Let it Bleed, yet I listen to them more. There's a Stones album for every mood and that's the beautiful thing about this band. On many occasions the fun and lightness of albums like Undercover, wh
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Ali Farka Touré: Ali's Here Mulatu Astatke: Mulatu Mulatu's Hideaway It seems that many of these can be found in Jazz from all parts of the world and what was once called "World Music". Probably because with instrumental based music you don't have lyrics to inform the song title.
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Quotekeefriffhards QuoteMonkeyMan2000 Quotekeefriffhards Why didn't Keith sing this one, it would have worked better in my opinion. This is one of the things that makes no sense concerning the album, Keith should have claimed this track ffs. Why? It's a Rolling Stones album! On hand you want it to be a Rolling Stones album rather than a so-called Mick-solo album and on the other you
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So, I'll also do one of these: Highlights: Get Close Live By the Sword Depending on You Driving Me Too Hard Good: Dreamy Skies Rolling Stone Blues Whole Wide World Bite My Head Off OK: Angry Sweet Sounds Tell Me Straight Mess it Up
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Quotekeefriffhards Why didn't Keith sing this one, it would have worked better in my opinion. This is one of the things that makes no sense concerning the album, Keith should have claimed this track ffs. Why? It's a Rolling Stones album! On hand you want it to be a Rolling Stones album rather than a so-called Mick-solo album and on the other you don't want Mick to sing a song th
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From the Talking Heads these two come to mind: Radio Head Fela's Riff (if an officially released outtake also counts) Bootsy Collins: Bootzilla Play with Bootsy The Meters: Funky Meters Soul Meters Strut Gil Scott Heron: Lady Day and John Coltrane Pharaoh Sanders: Village of the Pharaos (Part One, Two, Three) Memories of J.W. Coltrane Funkadelic: Who's a Funkad
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Quotematxil QuoteMonkeyMan2000 [...] Get Close is Keith all over with the typical Open-G minor chords in the chorus and the riffage during the verses. To me, the guitars in "Get Close" are not playing a riff. I don't see why one would even bother tuning the guitar in Open-G to play those chords. Maybe arthritis is the explanation. It is a riff, it has a distinct rhythm in conv
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QuoteStoneage Quotedonvis After reading the booklet in the blu ray box, it seems like Keith was the impetus for: Get Close Depending on You Driving Me Too Hard and Tell Me Straight. Mick was the impetus for the other 7 originals. Not really a solo Mick album at all. Driving Me Too Hard and Tell Me Straight are generic Keith songs. The other ones sound more Jaggerish. Get Close is Keith a
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QuoteDoxa QuoteWitness Quotematxil QuoteWitness [...] But since you argue with a formal concept, which I do not and even cannot do, I acknowledge that I am unqualified to give an answer to your argument. However, I have learnt something about what you meant. But I wonder how many posters and readers would use your defined concept or, alternatively, a more or less vague genre term like myself.
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Quotekeefriffhards Its ridiculous to say I'm not a Stones fan because i can't understand the new album, i remember how thrilled i was when i first played Steel Wheels and Voodoo Lounge, it's surely okay to be confused by the direction you see 80 year old Keith take. It's not that I'm not a Stones fan it's that this is a Jagger/ Andrew Watts solo album with Ke
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I don't want to be the person with the controversial opinion here. But for me, Sweet Sounds is one of the lowlights on the album and I usually skip it. I like how it starts and everything but as soon as they start to duet it gets on my nerves. It's way too much of everything and after 2 minutes they've already made it way to clear that they want this to be an epic Gospel tune and t
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The riff in Get Glose has a very similar rhythmic pattern to Slave. But I get you, it's a less developed idea compared to the Slave riff. But I think it works well and it's certainly something which Keith can still play with force and presence live.
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Quotematxil Well, you might have a point there because I don't like All The Way Down either. One of the worst songs on Undercover, partly - indeed - because of the bridge. I agree that the choruses, in general, are very pop. It's a pop album, it is what it is. On Angry and WWW it's alright, I think. Get Close is something where I feel I'm in a different universe. The res
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Quotematxil Quotekeefgotsoul Are the bridges the weakest parts of this album? I like the whole album but it seems like the bridges in some songs take the steam out of them. Like Sweet Sounds. The song keeps building and gaining momentum, then the bridge happens and it seems like a wrong turn. In general, yes, they feel forced and unnecessary. Although in Sweet Sounds it's okay. I think t
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Get Close is like a mixture of Slave and Can't You Hear Me Knocking to my ears. Live By The Sword has a lot of elements from "Let Me Go" type of songs.
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Fantastic Ronnie and Keith on that one! So beautiful to see Ronnie back in top form! Chanel sadly throwing Mick off in chorus with her slightly out of key singing...
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Quotegotdablouse Must admit I never paid much attention to Bernard apart from on songs like Ruby Tuesday maybe, so you're saying he's basically shadowing Mick at all times ? Do you have an example of how that sounds on SFM ? "I saw a clip of Whole Wild World and Chanel really sang out of key" Link ? It was on Instagram somewhere, sorry I don't have the time to fin
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QuoteDorn great tune and great idea to put it at the end of this album but what happened to the sound and the mixing ? 70-80% coming from the left speaker, at some points kind of distorted . or is it just my system ? They tried to get that dirty 50's blues sound. I seem to remember that Andrew Watt said that you mostly hear one mic that captures the acoustic guitar directly, the guitar a
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QuoteBjorn The album is fine. Keith live was not. Why doesn´t he help Ronnie? Where there should be power and attack, he just bend a string - if he even tries at all. Whole Wild World - please join the chorus! Dont just stand there! And so on. Makes me kinda sad. But I guess he will sort it out in time for the tour. Maybe it´s just me. I care too much. Always want to see the best in everyone. Wan
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Chanel did great on Gimme Shelter in Milan last year. But from what I can tell from the videos of the Racket show I saw, she didn't blend in well with Mick at all. The phrasing is off. Bernard really mastered the way of singing the harmonies by Keith and Mick while also giving Mick something to fall back on in a case of emergency. I saw a clip of Whole Wild World and Chanel really sang out
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I think it's ridiculous to be disappointed that this album grew on the effort of Mick. Without him there would be no album! Have you fanboys not noticed that Mister Keith Richards has no muse anymore? It became abundantly clear in the last 15 years that the man is not interested in making music anymore. He doesn't play guitar between tours, had to be talked into doing Crosseyed Heart an
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I also had to check out 4 (!) record stores in Basel until I found a copy, which was in a book store (!?) and it cost 46 Swiss franks (!!!).
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Other than the bridge, Live by the Sword?
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QuoteHardRiffin After a few listens in my opinion this album has the same elements as "Emotional Rescue" (imo a great album): same variety of genres, same great sound, great grooves, same pleasure in listening because it flows very well without bad songs or fillers. I also get a lot of "Emotional Rescue" vibes. Light lyrics, not taking oneself too seriously, but loads of fun
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QuoteDaveyJMusician I love whatever technique Mr. Watt has used on this - there's a mic on Keith's guitar but there's a second track that's overloading at times. Very different songs but very similar tonally to Street Fighting Man. We know that Keith overloaded a tape recorder for Street Fighting Man, but on this I'm guessing it's a soundhole pickup through a pre-amp
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QuoteWuudy What's the point of doing a 2 song encore if you're only playing 7 songs...? Yes, why? Also bummed that "W/ LADY GAGA" is not on the record!
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Woow, Darryl is into in on Bite My Head Off!! Didn't know his punk side
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