Well, I did not use the word rocker, at all, in my own approach. And I was not highlighting distinctions between pop songs and rock songs. I ended up saying perhaps on that score. However, I was more interested in other aspects.
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Quotekleermaker Quotedrbryant Quotekleermaker QuoteDandelionPowderman Now you're on thin ice, kleerie. You really don't know what I'm saying Most of the archetypical Stones rockers are mid-tempo like DWMD, btw. Dancing on thin ice, you mean. Mr. D doesn't sound like a rocker to me, rather a pop song. Compare it to for instance SFM or JJF. Mr D is real slow man! Does
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Quotekleermaker . Faraway E. is country at its worst (meant to be funny/ironically, but a failed attempt), A little side-step to the theme in the thread: kleermaker, you are, of course, entitled to your own taste and judgements. Also towards what I will respond here. However, only this, have you never felt that "Far Away Eyes" might be experienced as double-edged? Beyond the
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QuoteSonicDreamer QuoteGazza Quote2000 LYFH Should GHS be added to the BIG 4 list and make it a 5 album run of the greatest music ever recorded? No. Its as big a dip in quality as the one between Some Girls and Emotional Rescue. Training the killer pigeons on Irish Sea navigation as we speak...... Well, to me there is no dip from SOME GIRLS to EMOTIONAL RESCUE, and UNDERCOVER is the best
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Despite what you have given of highly interesting contributions in this thread, His Majesty, on what you term "the third man mechanism", making for transitions and transitional albums, you have also in a couple of posts agreed that there have been Stones specific mechanisms of continuity. The latter would provide a framework that during an especially creative period could subordinate t
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After the breakup of the Birthday Party and thereby the split with Nick Cave, Rowland S Howard went on to be a key member of Crime And the City Solution. Added in afterthought in the latest edit: He left this band as early as after one album and two EPs.
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QuoteHis Majesty QuoteWitness .................................. What some others refer to as wonkyness or the wobble, dandie for example, and what you seem to be focusing on is a musical thing. As I understand it, it refers to the unique blend of rhythm and drive that essentially comes from Keith through Bill and Charlie working together as a melting pot of rhythmic influence and creativi
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OK, His Majesty, I acknowledge that you referred to something else. However, it was natural for me to wonder if it was the musical thing you had in mind, especially in the context of this thread. The edits starts here: As far as I understand Dandie's writing, but there I am not able to distinguish, confronted with each song , it is sometimes not present, other times it is, in the Taylo
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Quotekleermaker QuoteHis Majesty Quoterunaway Beggars Banquet info of the sessions: Brian was'nt playing a lot on that album, there were quite a few holes to be filled in. NH. His appearences at the sessions were less and less so it required a lot from Keith. JM. So his leaving already took place during the BB sessions I think. I could cherry pick some quotes and post a more balanced
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Simply put: Alterations in personnel provided possibilities for transition. The for this period strong relation between Jagger and Richards provided a framework for continuity. (Jimmy Miller strengthened that.) Then it becomes a question which mechanism was the stronger, at the same time as these mechanisms were alternately coworking and/or counterworking. When the musical output then gradual
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QuoteHis Majesty QuoteDandelionPowderman Quotekleermaker Funny that it's just you that voices my feelings about Let It Bleed so well. I always felt it misses something, however great the album is. But I was never able to put my finger on it, as we say it here. You did. You two might have very different opinions about what it misses, though A distinctive third man is a distinctive th
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I want to construct a thought experiment, rather unrealistic. Imagine one passionate and knowing Rolling Stones fan more than most, familiar with all that happened earlier, waking up on a later date from unconsciousness, which hit him or her after THEIR SATANIC MAJESTIES REQUEST. To cheer up the fan, temporarily advised not to try to read, the '68 - '72 albums are played. Information o
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QuoteDandelionPowderman Gothenburg (mediocre audience recordings, though) are good shows as well. I don't know anything about recordings from those two concerts. However, as one present at both concerts, my passionate rememberances are, first, that the concert on 19th of June was an uninspired concert, probably the weakest Stones concert I have attended. Secondly, on the other hand, Jun
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As one, not necessarily representative, listener out of those who carried home albums when they were new, from AFTERMATH and on, I feel estranged by the idea that LET IT BLEED is taken to SOUND like a transitional album. To me that is a constructed truth. Nothing wrong from my point of view, in my perspective truths are constructed rather than discovered. But does this truth apply? To me it is no
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Happy new year to you, Doxa, as well, and to everybody else! I usually voice my negative verdict on TATTOO YOU, I would say, by telling that I have problems with it, and that saying, in addition to politeness, approaches not total, but some sincerety. Done in another way, my judgement of that album, could in fact have been different. It was not "bad", had another potential as well,
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An album of new studio songs, from which 6-8 songs would enter setlists, could make for a triumphant return to Hyde Park very soon! Give occasion for it! Might not that be a tempting prospect for the band?
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To me the question has to be answered in the negative; In the first instance, there are not any "big 4". Only 4, that is. Instead, in my multi peak perspective, among albums there are more great ones than that. Distributed in four peak periods: (constituting two peaks, spanning more than one development period, in one uninterrupted sweep, despite all involved upheavals) For
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Quotejamesfdouglas QuoteGasLightStreet QuoteSpud It's got up sides and down sides but it's hard to see how they could have gone any other way. Tne "modern era" Stones have kind of been victims of their own continued popularity and pulling power. They couldn't really have downscaled, even if they'd wanted to. Big Stadiums & Arenas required a big production.
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QuoteThe Joker Forgive the terrible pun... But fact is: the 1978 and 1981-82 tours witnessed some deleveraging on the horn section... 1978 had almost no wind section at all, nada, and 1981-82 tours had only a saxophone... Remember some wannabe critics saying already at that time it was a good time the Stones stripped down, and do without that Exile on Main Street brass that sounded too much f
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QuoteBowieStone Quotecrholmstrom Wasn't he supposed to open Hyde Park but got sick? I could be thinking of someone else. Tom Odell got sick. We were treated with an extra concert of the legendary Hudson Taylor. Jake Bugg will go down in the books as a one hit wonder. He just hasn't got the voice and delivery to keep it interesting. During the long wait in the sun in Hyde Park ,
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Well, the first two songs, which you present, Dandie, to my ears have been given some intangible touches that make them even greater than the originals in some respect, When I often receive that impression to older concert versions, much less from 1989,, that more of an assumptipn than a hardcore fact, lies behind what I wrote. And to me this has often been pervading. However, I acknowledge it i
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QuoteDandelionPowderman QuoteThe Joker QuoteDandelionPowderman QuoteThe Joker To me, the "Vegas Era" started when it became almost impossible to notice the difference between different renditions of the same song during different shows of a same tour. Well, I'am a taylorite and I grew up listening the astonishing variations for the same songs (I'm free, Under My Thumb, Ram
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QuoteHis Majesty The 50th and counting tour is something different from the Vegas era. It is interesting above almost anything that you of all people would see a difference from a "Las Vegas era" tag. Taking it as vantage point. Towards my own understanding though, when I do not apply the "Las Vegas era" term, what might mean that the Stones would or could have moved
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Quotedrbryant QuoteStoneage Agree, Joker. Maybe a more accurate term would be the "Click Track Era". That's what it's about - music conformity. It's not really about the side musicians, it's about the music itself. This puzzles me. Setlists were largely static for the first 35 years of the band's existence. The Licks Tour was great from that perspective. To
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Blush! This song has passed me by without my noticing it. So good! What a feeling!
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{I am glad that the Stones never did one as such stated Christmas song.] However, as to what made me enter this thread; Wow! I had never heard the long version of "Winter". Neither, do I know if it originates from exactly the same time as the standard verston, or from a later date, when possibly Mick Taylor no longer was a member of the band. The following, in condition that he
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Well, thank you, His Majesty, for that information.
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QuoteHis Majesty Quote71Tele Would love to hear the '67 tour in good quality. What a live album that would make! They played some medleys on that tour, very un-vegas though, way too raw and loose. The Rolling Stones - Live 1967 - Rawer Than You'll Ever Be. I have not got that much from the 1967 tour. One vinyl bootleg only. Title: @#$%& And Sucking. (the first word is F-cking).
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So good that they expressed their greetings as seasonal greetings and wished happy holidays. Thereby that they managed to avoid all that other stuff!
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That is completely all right.
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