The video screens look like gigantic smartphones. We hold up our phones to theirs.
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You're right, thanks
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Is the one second from left the one he played on Take It So Hard and How I Wish at Hollywood Palladium?
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Fascinating. That's at least three Stones albums that began with one-word titles and ended with more intriguing additions: Exile --> Exile on Main Street Tattoo --> Tattoo You Bridges --> Bridges to Babylon
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Quotechatoyancy My Stones friend told me rehearsals start next week in Los Angeles but I'm very skeptical because that's a long way from Europe. It's wishful thinking on her part. She's in Los Angeles, imagines the Stones are following her around. You're right to be skeptical! They're rehearsing in London.
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"England Lost" feels like an update of "Rain Fall Down," sonically speaking. I like the idea of cultural commentary smuggled into a soccer metaphor. Mick has something to say, but, as is his wont, chooses to wear it lightly.
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"England Lost" has a little hint of his "Too much blood" voice. Funny. I think I like it better than "Grip."
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They're both on Spotify right now. With "explicit" tags!
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It is an old clip, but the fact that Keith's people chose to release it now is, if not news, then at least "newsy."
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Quotekeefriff99 The only major acts that come to mind that don't use teleprompters are Springsteen and Iron Maiden (both fronted by guys named Bruce). Also Lemmy from Motorhead, since his neck was craned towards the ceiling when he sang. I've seen singers literally reading the teleprompter (Ozzy, anyone?), and some that use it as a backup just in case they lose their place. It'
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7. Mick's "why why why why!" riffing on "Miss You" breakdown. 8. The emergence of Lisa Fischer, and the first live female duet with Mick on "Shelter." 9. "Play with Fire" with drums. 10. "Start Me Up" with a stand-alone Ronnie solo.
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Quotestone4ever QuoteMelBelli Keith was not a fan of this tune. ... I wish they could've come up with this modus operandi a long time ago: Mick putting his pop experiments out on the side, heading off arguments with Keith, and letting the collective work continue. Intriguing post Melbelli, I don't suppose you could expand more on what you just said. Keith didn't like Mick's
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Keith was not a fan of this tune. ... I wish they could've come up with this modus operandi a long time ago: Mick putting his pop experiments out on the side, heading off arguments with Keith, and letting the collective work continue.
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Seems like a fairly organic moment to me. They're working out a sequence that would more or less become part of the bridge of "Mixed Emotions." ... as for songwriting credit apportionment, my rule of thumb is that there are three legs of a stool: a chord progression or riff, a melody, and lyrics. When Keith has a riff, he often has the ghost of a melody and some bare-bones lyric
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Here's hoping the live comp is of guest appearances by Tom Waits, Brad Paisley, Black Keys, Springsteen, etc. That project was talked about a few years ago, then seemingly abandoned.
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QuoteLongBeachArena72 Quotestone4ever I just wish that Mick and Keith separated writing credit's on each other's tracks when clearly only one of them wrote a particular track. If Mick only sings on one of Keiths songs or when Keith only plays on one of Mick's songs. Over the years it would have made it so much easier for people to see who did what without it being down to suggestio
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Funny story from the 2002 recording sessions: While the band was working on some stuff, they hit a wall, stopped, and Keith said to Ronnie, "Well, what do you got?" On the spot, Ronnie pulled a tape out of his back pocket. He doesn't lack for ideas, that's for sure. And I'd wager that many of them are at least worth exploring.
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Stuff sounds good (I'm told); but quite a bit of work left, and still uncertainty about which direction some of it will go.
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Quotebye bye johnny Thanks for the update, MelBelli. Is that intel from the Was camp? Close to both band and Was.
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Hearing that we might get a teaser this fall, but likely the full album slides into next spring.
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There are some nice MJ/KR harmonies on "This Place Is Empty," "Let Me Down Slow, "Biggest Mistake," the bridge of "One More Shot" ...
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Can confirm this, too.
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QuoteRocky Dijon I'm not crazy about Central Casting being used for concert videos, but I understand the thinking behind not showing middle-aged bald men with beer bellies hoarsely screaming "Mick!" For me the painful feature are the two close-ups of Jumpin' Matt Clifford in the first 10 seconds. Yup, that's painful too.
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The bimbos-for-hire in the front row might be the most painful feature of that clip.
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I remember Waddy using it, or one like it, on "Locked Away" in '93.
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Loved that guitar. It's best "acoustic" tone he's ever had onstage.
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I had always assumed "Bitch" was basically a repurposing of Keith's "Live Wih Me" bass riff. The way both songs' turnarounds are structured is conceptually similar, too. "Come on now, honey / We can build a home for three" at least *feels* like how "my heart is pumping louder" gets back to the A key center. Maybe it's the way "Live Wi
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I don't anything about what it sounds like. But I understand the June sessions might be for auxiliary musicians to add parts. So it sounds like it's decently far-enough along.
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I'm just doing my part to keep Ian Billen off the ledge
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