I like the new songs. I think it's easily their best work in five years.
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Accepting that argument as reality for the sake of discussion, you're still missing the legal side. They can't carry on without Keith unless he quits the band.
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The songwriting credit on "Stop Breaking Down" was correct in 1972 as Robert Johnson's songs were not protected at that time so "Traditional" was the only option and sharing the arrangement royalties among the band was the right thuing to do. Likewise, acknowledging Johnson as the author as his songs in recent years now that they are under protection with royalties going
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It's not really Keith's version so much as a very rough guide vocal with what Mick and Keith term "vowel movements." It was never a contender for official release and much like the alternate "All Down the Line" I'm surprised they decided to include it on the bonus disc.
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Terry, you forgot undercover of the night and under your thumb, but I'm guessing you've done that, too.
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Ronnie does not get any royalties from EXILE or any recording preceding his time with the band. Promotone B.V. pay royalties to Mick Taylor for recordings made during his tenure. Whether the royalties are the correct percentage or not is a question of legality, but Taylor still receivies regular royalty statements. Lightnin' as I believe you are connected with the Taylor camp to
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Happy Birthday, Gary. Best Wishes to you.
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To me, "Good Time Women" and "I Ain't Signifying" are in a different category because they are genuine outtakes. The alternate versions of "Loving Cup," "Soul Survivor," and "All Down the Line" don't really do anything for me compared to the brilliant LP versions. For the new stuff (which I think of as new material, not outtakes), I real
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Sorry, I meant Wednesday.
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A music legend turns 69 on Tuesday.
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Post of the year, Terry!
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I'm with you, Havo.
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What Stones song compares to "Hotel California?" Honestly, I'd have to say "Streets of Love" comes closest. Isn't this a question better asked on an Eagles message board?
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I think its the original vocal and original Taylor guitar. New vocals and lyrics only on five tracks: Pass the Wine, Plundered My Soul, Following the River, Dancing in the Light, and So Divine.
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Hardly blasphemous, I've seen Los Lobos in concert and at times they sound like the Stones in their prime.
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vinyl Atlantic cassette Atlantic cassette CBS CD CBS CD Virgin ltd. edition CD Virgin regular edition 2-disc Uni package
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You think you got me in your chains Control me with your devious pain You think your love is so divine You pour it out like it was heaven-scented wine You think your love is all I crave Well I got better things to do than be your slave When you first asked me in I heard those violins You quickly pulled the pin You had no hesitation There is a rose that bears your name The bloom&#
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You're right, His Majesty. And I'm sorry if I helped pull it down. I'll bow out now. Not gracefully, perhaps. But I'll bow out just the same.
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Kleermaker, this is a tough one, I know. My opinion, your opinion, Mathijs' opinion of great songs is subjective. Ket thinking "100 Years Ago" is crap doesn't make him/her wrong any more than you thinking it is one of their finest moments makes you right. Same deal with whether Ronnie has written great songs with Mick and Keith. And if "100 Years Ago" is your ben
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Okay, Amsterdamned, I took a deep breath and re-read your post. I'm trying to think of a "more nuanced reply" like when you call me an illiterate in the last sentence of your exemplary post. You can dress a Taylorite up, but you can't take them out.
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I think its true that Jagger/Richards would rip off collaborators given a chance. I also think its true that Taylorites tend to exaggerate their hero's contributions. Seeing some Jagger/Richards/Taylor credits would have been equitable. Pretending Taylor was the Stones is delusional. And the number of Jagger/Richards/Wood credits is only 10 songs and Wood believes there should have been a fe
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Good one, Amsterdamned. You can't win, so you'll insult. I like that in a Taylorite. I have some Taylorite tendencies myself if you haven't noticed, but not enough to be accepted by the True Believers.
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The credit on THE BIGGEST BANG is for "additional recording" not "additional guitar." "Additional Recording" refers to engineering studio overdubs. You'll find the same credit on the liner notes to DIRTY WORK. It doesn't mean Tim Crich and Mike Krowiak are playing guitar on DIRTY WORK. "Under My Thumb" on THE BIGGEST BANG has obvious studio touch-
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Mathijs, sorry but I don't hear Keith. I agree "Plundered My Soul" is routine and not a particularly noteworthy performance lacking as it does an opening riff or even a solo. In fact, its lacking everything "Honky Tonk Women" has including sounding distinctively like Keith. But they're only my ears and yours, so I'll spare you my wrath. Kleermaker, I agre
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How many Taylorites? How many Jones boys? How many that hate the band after 1969 or 1974?
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Amsterdamned, I like Taylor's playing a lot. Live and in the studio with the Stones. If you've read my posts in this thread even today, you know that. That's not what we're talking about and neither was Andy Johns' story about Keith's actual mean-spirited jibe during the IORR sessions. A story I don't doubt, either. That wasn't your point originally and
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StonesTod, Taylor has played many shows in Cleveland. I only bothered to see him once. While I wouldn't accuse him of capitalizing off the Stones (A STONE'S THROW notwithstanding), there's nothing wrong if he did - it is his legacy after all. Now, if your local radio station says Taylor's playing at the Slaphappy Lounge on West 6th and then plays "Plundered My Soul"
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Might as well throw in my two cents on the "Plundered My Soul" debate. My ears don't detect Keith's playing on the track, but I could certainly be wrong. I think the opening is Jagger via Pro Tools. I hear Taylor throughout and can belive Taylor did the overdub in January 2010 as some have claimed. That said, would Taylor overdubbing on a new Stones single boost concert att
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Amsterdamned, with sssoul made the same point I tried to make using sarcasm. There is a world of a difference between the two stories. The story in John Phillips' autobiography, PAPA JOHN is about a session for a song he wrote "Oh, Virginia" - produced by Mick and Keith who sang and played on the track - that features a stunning Taylor solo - and Keith's comic reaction
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John Phillips related the story about Keith's remark upon hearing Taylor's solo on "Oh, Virginia" in his autobiography. Until recently that's the only place I've ever heard it referenced. Of course, the story has much more sting when you spin it as coming from a Stones session.
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