QuoteRedhotcarpet Yes I agree. I understand what you mean. It is a perfect album despite some minor flaws (Salt, Doctor, and though I really love it, objectively speaking Jig Saw is not up to par despite Brians mellotron). Tracks like Parachute Woman and NE are fillers but they are perfect golden fillers and some of the greatest songs ever recorded. So yes I agree. I don't think
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Quotemuffie Rolling Stone Magazine's 500 Greatest Albums of All Time The RS 500 was assembled by the editors of Rolling Stone, based on the results of two extensive polls. In 2003, Rolling Stone asked a panel of 271 artists, producers, industry executives and journalists to pick the greatest albums of all time. In 2009, we asked a similar group of 100 experts to pick the best albums of th
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Quoteduke richardson it sort of sounds like because Beggar's Banquet is so rootsy and not so rock and roll, that's better somehow...? No, not quite, duke. Just that BEGGARS BANQUET is long before the Stones fell into the rock 'n' roll type cliche, where riffs are simply there by habit, rather than because of some true artistic necessity. In a sense, because the album is le
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QuoteStonesCat I'd say LIB is the weakest of the four. I like Exile the best, but actually think Sticky Fingers is the most perfect of the bunch. Exile has more but a couple aren't top notch, maybe. Beggars is probably 3rd, solid but doesn't have as many "10" moments like SF and Exile. I think also opinions can be divided because of individual taste, too. STICKY FINGE
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QuoteDandelionPowderman Those two albums are hard to compare. The weakest stuff on BB is better than that of LIB, though. And the overall feel of BB - the album as a whole - is way more convincing to me. Not to forget the album's unique sound and production I actually can't hear anything remotely weak on BEGGARS BANQUET, Dandelion. Of course music is subjective, and everyone is entit
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QuoteDandelionPowderman A Chuck Leavell "piano", some synth strings and a mature Mick-voice isn't very "retro" to me New Faces, however, sounds retro. Jagger actually doesn't come across vocally too different from how he did in the early seventies in this instance, Dandelion. Maybe that area of his range hadn't changed too significantly. However, vocally o
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QuoteHis Majesty Quoteduke richardson how are they 'much better' than LIB..? Better songs. Yes, that's how i feel, better songs and also occasionally more thorough arrangements. LET IT BLEED appears to take BEGGARS BANQUET as a sort of template. However, one gets the feeling that it is slightly more uneven, and some of the songs/arrangements aren't quite so finely tuned. I
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I love many of the Stones albums, of course, and especially the big four. However, after reacquainting myself with them once again, i believe BEGGARS BANQUET to be the only one, where i wouldn't choose to change a thing (however small). Whether that's relating to the quality of the songs, the length of the songs, the instrumentation, the sequencing etc. i think with BEGGARS BANQUET the
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QuoteDandelionPowderman I like the honesty of The Worst, as well as the lap steel and the accordion. It's quite a charming ballad, with warts and all. And this time, not only in attitude or in branding. There are some very enjoyable passages in there, and the overall impression is for me a very good listening experience. The lack of vanity or "coolness" in this tune makes it a
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QuoteDandelionPowderman Luckily, we have a brilliant ballad like The Worst on VL. IMO, The Worst is better than most of the ballads you mention, Edward, except for Coming Down Again, which is a rare masterpiece, and quite a unique song, even for the Stones. Blinded By Rainbows is even weaker than Out Of Tears, imo. I kinda like the humorous Brand New Car, especially when the horns kick in.
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'Out Of Tears' sorts of reminds me a little of the Stones early seventies output, perhaps STICKY FINGERS or GOATS HEAD SOUP, maybe, within Jagger's vocal, and certainly i get the impression the Stones were aiming at a retro sounding ballad relating roughly to that era, although for me it comes across a little too neat and tidy, and ultimately quite clinical sounding. Unlike Doxa, i
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QuoteBig Al Yes, like Bowie, he too was a 60's leftover! Bowie was great, without a doubt, but sometimes i feel the greatness and longevity of Bowie's career, is rather more calculated and contrived. He's almost approaches the art of music, in a rather detached and clinical way, almost like a college professor would dissect a thesis, in an attempt to gather together all the r
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QuoteBig Al Teenage Dream is great. It's a shame that his top-10 run on the U.K. Singles chart ended with The Grover. I guess the interest was beginning to wane a little. Yes, i think also he began to lose his teenybop appeal, as he began to seem a little less clean cut, musically, possibly, as well as personally (maybe even becoming a touch too arrogant - the fame went to his head), and
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QuoteBig Al Terrific post, Edward. Personally, it's his pop sensibilities that appeal to me the most. I particularly enjoy the instant satisfaction felt with tracks like Get It On and 20th Century Boy. They're boisterous, clap-a-long, feel-good smashes. It's radio-friendly pop at it's very best. Formulaic some of it may be, but it's dam god fun. Some of his music is rathe
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Quotesf37 In my opinion, "Laugh, I Nearly Died" was their last truly great tune. An underrated classic. Yes, i was surprised by that one,sf37, because i didn't think the Stones any longer had it in them. I think elements of the song are very good, but vocally, Jagger's heavy handed approach, for me, makes the song ultimately hard to bear. Not right the way through, i might a
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Marc's best work, for me, was when he was on the threshold of stardom, namely the albums, A BEARD OF STARS, TREX, and ELECTRIC WARRIOR. This late Tyrannousaurus Rex/early TRex period was when he was becoming more accessible than those very early albums, certainly within his own folk styled, early more mystical style. Those albums stand the test of time extremely well. I sense as soon as he h
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QuoteDoxa What I really admire in Keith Richards is the way he is - or used to be - a master of musical wholeness, of the whole atmosphere, and he always seem to see the individual parts only significant as a part of the whole. Only the wholeness matters. Not many musicians has that kind of 'holistic' attitude, or at least having that strong and great intuition to follow. For exampl
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QuoteDoxa (I have the advantage of loving them both, unlike those two guys who seem to love one, but hate the other...) Okay, that will do; I defend "How Can I Stop" later... - Doxa I think that's a bit strong, Doxa. I don't hate 'How Can I Stop', because it doesn't inspire enough emotion from within me to have a reaction as extreme as hate. Not many
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QuoteDandelionPowderman If it's the most beautiful piece of lead guitar you've ever heard - fine, more power to you! To me it's nothing special - a fill-in, with a fussy rock sound all the other 70s bands had at the time. I absolutely adore the guitar on Moonlight Mile, but that's how art works - we interpret it differently. Dandelion, i don't agree with you fund
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Ok, Dandelion, very man to his own. It's just that i'd rather listen to Keith's 'You Don't Have To Mean It' with its infectious reggae rhythms, if i'm going to listen to one of his later musical efforts. Or maybe 'Make No Mistake' from TALK IS CHEAP, or 'Slipping Away' from STEELWHEELS. Not exactly prime Keith/Stones, perhaps any of them,
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QuoteDandelionPowderman QuoteEdward Twining QuoteDandelionPowderman While you sleep I'll listen closely to every second of How Can I Stop, which I don't find as unstructured as you do. Some songs don't necessarily need vocals the same way as others do. It's the music and the development that is exciting. A build-up, unexpected turns and crescendos, mixed with small, but im
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QuoteDandelionPowderman While you sleep I'll listen closely to every second of How Can I Stop, which I don't find as unstructured as you do. Some songs don't necessarily need vocals the same way as others do. It's the music and the development that is exciting. A build-up, unexpected turns and crescendos, mixed with small, but important and beautiful details can be great m
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QuoteEdward Twining [
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QuoteDandelionPowderman If you get the same melancholic and longing feeling with Who's Been Sleeping Here, that's great! I don't quite see the comparison, Dandelion. 'Who's Been Sleeping Here' is clearly a mid 60s Bob Dylan influenced song, and in a sense it's very much of its time, and something the Stones wouldn't pursue any further, once they got b
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QuoteDandelionPowderman Please wake me up when it's over!! Yes, Dandelion, this is pretty much what i've been on about, a perfect example, in my opinion. Keith sort of meanders and mumbles his way through the song, trying to find some emotional connection by using a few random vocal inflections (at times!). I'm sure he did have a rough template of where the song was to go, an
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QuoteDoxa I think what he did there was exactly a kind of classical 'Dylanisque' thing to do - never taking the easy route, or trying to go mainstream or according to wishes ("Judas", "Traitor", etc.). I am sure for to the most of the people in that euphoria of the occasion, he was very pathetic - with his controversial 'message' and poor acoustic perfor
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QuoteDandelionPowderman More mature songs like Biggest Mistake, The Worst, How Can I Stop and Already Over Me (minus the weak chorus!) are not far behind the old greatness of songs like Waiting On A Friend, Coming Down Again and Memory Motel, imo. And the brave (and imo successful) effort of Continental Drift deserves way more love on this board! I'm not sure about those songs, Dandel
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QuoteMax'sKansasCity Give it 50 years and no one will be cutting it apart like this, there will simply be the Stones catalog of music, start to finish, no cut off points, no past their prime points, just The Stones music. No one in 50 years will say.... "I dont like The Stones after this album, or this song". Unfortunately though, few will ever acknowledge anything the Stone
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