TATTOO YOU was the last gasp of greatness from the Stones, in my opinion. Maybe not quite STICKY FINGERS or EXILE ON MAIN STREET greatness, but there are songs on that album that can stand up alongside the classics, without feeling largely inferior, even if, in using a more critical eye, they may not be quite of the same calibre. For example, put 'Start Me Up' alongside their hits, say
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'Start Me Up', 'Worried About You', 'Waiting On A Friend'. As Doxa has said it is often how you intend to interpet great.
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QuoteDoxa I agree with you, GetYerAngie, about "All Along The Watchtower". But I never have thought Bob's and Jimi's - two strongest individuals the rock music ever has seen - versions are to be compared to each other. Namely, Dylan's original is just a 'throwaway' (for him) folk number he did in the mood of that album (NASHVILLE SKYLINE), which I don't thi
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QuoteReagan QuoteEdward Twining ...if the musicianship isn't especially exciting anyway, there's nowhere left to go. In part that was the reason 'Plundered My Soul' worked so well - the groove was just so good (in addition to Taylor's guitar playing), and that subsequently acted as a distraction from Jagger's terrible singing. I agree except for the part about Jagg
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Quotekleermaker If Taylor will play on stage again with the Stones I hope he'll behave like during his tenure with the band: just standing still, at the right side to Jagger, just playing guitar and looking cute and cool. No more silly moves and 'dancing'. I think you are longing a little too much for the old Taylor, kleermaker. I don't think Taylor will ever look 'cute
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SETTING SONS is The Jam at their peak in my opinion. 'Little Boy Soldiers', from that album is one of their very best songs, but is rarely heard outside the context of that album. 'Down In The Tube Station At Midnight' stands out for me as their greatest single, as i love the various changes within its structure (and especially Foxton's bass playing). I just find it a lit
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QuoteDoxa Jagger really pushed hard to stay current, but unlike you, Dandie, seem to think, the results weren't really convincing, and not even in LIVE AID. If Bob, Keith, Eric, Neil, Page etc. really were 'old farts', Jagger was like 'an old fart desperatively trying to remain current or follow the trends', which, in a way, was even more comical. So how 'sol
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QuoteDandelionPowderman Yeah, but we have to generalise, as there will always be lots of exceptions To generalise a bit further, the 80s were a "no worries"-decade, with lots of new technology, a more superficial sound and lesser soul in the music. The 90s, however, were more angst-ridden, and darker - most of the flash from the former decade was peeled off. After the 90s I ha
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Yes Dandelion. I believe 'Just Another Night' to be a fine single, and the modern technology actually suits it, i feel. 'State Of Shock' i'm less sure about, and 'Dancing In The Street' was, for me, a pretty tasteless cover, which only benefitted with its success, by its association with LIVE AID. I think it's a low point for both the careers of Jagger a
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QuoteDoxa ". Namely, I think in many ways Live Aid was a first instance of the whole rock culture explicitly recognizing the significance of nostalgia, especially concerning the big names from the 60's and early seventies (who actually were having rather hard times during the mid-80's). They were there to present the great music from the past. Macca, topping the Wembley bill, wa
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QuoteDandelionPowderman Although, I get what you're saying, I'm not totally convinced - as I thought he put on an excellent performance, albeit with a distasteful band: I agree with you, Dandelion. Jagger's voice was in better shape at Live Aid than on the 81/82 tour (maybe because it was a short set), although as you say, stylisically, it may not be to everyone's taste.
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QuoteDoxa Re Mick and Tina. Strange how much the things would change between the two in careerwise in four years. In 1981 she was basically that Ike's georgious chick and a legend from the past, and Jagger about the biggest cock in the music world. In 1985 in Live Aid, Jagger had lost a hell lot of his status (and balls), looked oddily a man with a huge past but rather teethless presence, wh
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Well, i like GOATS HEAD SOUP more than anything the Stones have released since, and that includes SOME GIRLS and TATTOO YOU, although perhaps those albums may seem a lot more accessible to a larger audience (perhaps being a little more tight and focused and energetic). What i love most about GOATS HEAD SOUP is the fact that it's pretty unusual in places, in a sense. Songs like '100 Yea
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QuoteDandelionPowderman QuoteWitness A candidate for the most emotional satisfying version I have heard, I think, might be on the early boot LIVER THAN YOU'LL EVER BE. The emotional side of it gives the song an extra dimension to this listener. Added: Even more ( to a larger degree) than other versions. I still haven't heard a more emotional satisfying take on LIV than the original
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As much as i love 'You Can't Always Get What You Want', i have always found the original LET IT BLEED version a touch overblown. The versions i love the most are from the 1972-73 live period, and especially those from the Australian tour from early 1973. Mick and Keith singing round the microphone during the choruses is quite transcendant.
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QuoteDandelionPowderman FF, IYCRM, IORR, Luxury and IYRWTBMF are my favourites on IORR - all with great guitars. They are also the only good tracks, maybe with the exception of DLS, which is far too repetitive.. CDA, Angie, CYHTM and Heartbreaker are by far the best tracks on GHS, imo. Yes, I know there are some good guitar moments, too, but those can't save poor songs, imo. I see yo
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I think GOATS HEAD SOUP is considerably stronger than IT'S ONLY ROCK 'N' ROLL, so i'm a lot less inclined to mix those songs up, in an effort to create a 'best of' because whichever way you do it, i believe the original GOATS HEAD SOUP album to be much stronger, without the need for any of those IT'S ONLY ROCK 'N' ROLL alternatives. 'Luxury'
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Quotekleermaker In fact it's quite easy: 1963 - 1973: the great period: from rise to greatness 1974 - 2013: the aftermath: from greatness to fall Yes, kleermaker, essentially you hit the nail on the head. I don't really know a more convenient way of defining where the Stones were at, although the 74-81 period certainly had its moments, alongside a fair few less inspiring ones.
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There is no way you could ever call 1982 the Stones early period. Early for me is 1963-65 Mid is 1966-67 Late is 1968-81 It's rather silly anyway to discuss the Stones career in terms of periods (and definitely anyway in terms of decades), and especially within the context of their post 1981/82 shows and singles/albums, because the emphasis shifted after TATTOO YOU and the Americ
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I would say REVOLVER is the best Beatles album.
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GOATS HEAD SOUP sounds rather hazy and unfocused on initial listens at times, where certain songs do stand out immediately, in a more conventional sense, such as 'Angie', Star Star' and 'Silver Train', while others tend to sound a little more unstructured and self indulgent, such as 'Winter', '100 Years Ago' and 'Can You Hear The Music'. My t
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QuoteStoneage That 10 minutes version of CYHMK is a bit of a drag I'm sorry to say. I wouldn't mind if they skipped the song on the setlist. That goes for Keith's two solo songs also. And half of the second part setlist as well. Then we would have an energized 90 minutes setlist that doesn't bore the daylight out of me! Whether Taylor is on or not really doesn't matter
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QuoteMarkSchneider Reminder: (kleermaker1000's post on YouTube) With this Glastonbury's CYHMK and recent MRs, Mick Taylor buries any controversy for good. Even Mick Jagger finally shows respect and affection for him... maybe they succeeded in concluding a contract No news from Mr DDDD and company? That's the best thing i've seen Taylor do on this tour, and it pr
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The Stones are the weakest they have ever been in a live setting, in my opinion. Ok, there is in a sense, a little more structure in terms of the songs arrangements than in 81, where the Stones for the most part attempt to adhere to the studio versions far more closely, but i'm not sure that's a good thing, necessarily. The Stones are simply playing it safe, without ever really chal
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QuoteDandelionPowderman Sway has been far from perfect on this tour. Taylor plays his solo fine on Sway, but like the other guitarists he is fumbling a lot in his rhythm playing on this one. He is playing nice solos, in spite of the tempo (I'm not sure if it's the wrong tempo or wrong rhythm from Charlie, though) - and I can't see the reason for using that as an example for him n
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QuoteDandelionPowderman QuoteEleanor Rigby Yep that is true. The band only gives him the stage and a choice of song, but MT would have no say about the arrangement of that song. Therefore he finds it hard to "shine" to his potential. What "arrangement" would have helped exactly? - He gets several minutes while band calms down on CYHMK - He gets an extended slot on Sway
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QuoteWitness To me, it is not drug references in themselves that make some music psychdelic or not. In my understanding, it is rather some kind of not so easily defined, may I say, "quirkiness" about the "sound picture" and possibly also about the "melody structure". Yes. Spot on Witness. That's what i was trying to say, but in a not very articulate way. I
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I was referring more to the sex and drugs and rock 'n' roll culture in 68, instigated chiefly by the hippies, Dandelion, as opposed to the psychedelic summer of love in 1967, which again was very much the hippy counterculure reaction to what was going on around them. Either way, THE VILLAGE GREEN PRESERVATION SOCIETY, is too simplistic in its longing for old fashioned values, and its th
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QuoteDandelionPowderman Just about every song has psychedelic elements in it. That should qualify? Playing the song Village Green right now. It is indeed psychedelic Also the vibe on the whole record is more psychedelia than the usual Kinks vaudeville stuff, imo. AND the instrumentation is as psychelia as it gets. Not to mention the melody lines. I know the liner notes in all the exp
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