I did not say that nothing happened. What I have marked in bold cover something rather common. QuoteDandelionPowderman <Only that I never myself have thought about the first one, 1969, as a 'professionalist turn> Well, something did happen in between the 1967 shows without PAs and 1969. In addition to the superior sound quality they delivered, they also made new arrangements
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Since one thread was closed, while I was writing my really nonprovoking answer to a side issue in that thread earlier today, I enter my post here instead, where it to some extent might fit as well QuoteDandelionPowderman QuoteDoxa QuoteDandelionPowderman I have said it before, and so have others. Like the Vegas concept or not, they were brilliant on the SW tour, and way more versatile and d
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Much I love Mick Taylor's period of live Rolling Stones, another kind of greatness belongs to the earlier Rolling Stones. Some aspects, for instance, of the following, shall we say of 'primitive ecstacy', I have not found in Mick Taylor's period or later.
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I was not aware that such a documentary existed, when I in an earlier post wrote about that album: " It seems to give glimpses into how it is to be Mick Jagger" Added: QuotePowerage NO. Wandering spirit is far better. To me WANDERING SPIRIT was Mick Jagger showing that he could make a Rolling Stones-oriented album outside the Stones, whereas GODDESS IN THE DOORWAY more or les
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I do like it. It seems to give glimpses into how it is to be Mick Jagger. Favourite songs, without preference between those two: "Hide Away" and "Don't Call Me Up".
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I interpreted the two lines as different styles. Where you possibly will focus on similarities and say that they are related and the second (Chuck Berry) influencing the first (Bob Dylan), I will rather focus on the innovation represented by the later, first mentionned. In the same manner as I have been guided by introductions to works of literature.
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Such a reaction makes me wonder if I have misread the post I tried to respond to. I return the question: What were you implying by your two verse lines, DP?
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QuoteDandelionPowderman QuoteWitness Chuck Berry's contribution is of another kind than the spesific novelty, more or less an innovation, associated with "Like A Rolling Stone". The latter has to do with the subjective turn that this song implies, as given a better statement by Doxa than I am able to present. I see that. "How does it feel to be on your own, with no direct
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In reality, you did, His Majesty. However, I had the need to express that efforts sometimes that remind of something going on earlier, in certain situations take on another character. In fact, in a post I did not enter earlier I had written soemthing to that effect, but then Doxa was active in the thread, and I abstained. But where you had expressed exactly my intention and in better sought word
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His Majesty wrote: ......................., but it's part of an ongoing phase Dylan was going through rather than a singular out of nowhere lightning bolt. However, I would add to that, during that phase, during that process, Dylan apparently arrived at a defining (or redefining) moment. That is when actions a major actor does, might have preceding efforts and results, but this actor the
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Chuck Berry's contribution is of another kind than the spesific novelty, more or less an innovation, associated with "Like A Rolling Stone". The latter has to do with the subjective turn that this song implies, as given a better statement by Doxa than I am able to present. Your latest quote, DP, from I do not know whom, is out of context, a fact that might be decisive for how th
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By what you posted in the following quote, you used the word "significant", but you denied the relevant aspects of what really was significant in this context, in my judgement. QuoteDandelionPowderman You can write books about it, if you want to. It doesn't alter the fact that everything you're saying, Dylan had done already BEFORE LARS. Recorded two years earlier, c
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QuoteDandelionPowderman QuoteWitness QuoteDandelionPowderman QuoteWitness QuoteDandelionPowderman An american "oddity" got to number 7 in the UK charts in 1964? I see what you're saying, and I agree with some of it. But I think you're reading too much into it. It was an important song indeed, but I still think you're exaggerating it's significance for the gener
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QuoteDandelionPowderman QuoteWitness QuoteDandelionPowderman An american "oddity" got to number 7 in the UK charts in 1964? I see what you're saying, and I agree with some of it. But I think you're reading too much into it. It was an important song indeed, but I still think you're exaggerating it's significance for the general rock public. For Dylan's care
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QuoteDandelionPowderman An american "oddity" got to number 7 in the UK charts in 1964? I see what you're saying, and I agree with some of it. But I think you're reading too much into it. It was an important song indeed, but I still think you're exaggerating it's significance for the general rock public. For Dylan's career, however, it was crucial. It wa
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QuoteDandelionPowderman Withdrawn short comment on reflection. Because in some way you had commented on what I one moment thought you had not. Many edits as a consequence of trouble with getting the quoting function right.
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Ah, these damned birthdays! But a much better tomorrow then! And the day after!
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QuoteDandelionPowderman Just because Rolling Stones (which write a LOT of BS, btw) calls the best song ever, or something, doesn't mean that we can't find 100 other magazines that don't... It is a good song indeed, but it didn't re-define anything, except for Dylan himself, imo. It's just a good song, and it didn't top the US charts - the Beatles did... In order
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If it is the version on STRIPPED, which is the only recorded live version from the Stones that I have, my judgement is as following: Played with good taste and feel. But it stays on the surface and is rock without attitude. This on that song of all songs. With their name and the title of the song, it must have been tempting. I think they should have let it be, when it was, in my eyes, the very
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An addition led to a double post, I am sorry.
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One question might be if cultural context sometimes contributes more or less behind the actors' back. Or some actors might even be partly aware of the arriving shifts in it. New or renewed forms emerge, where similar efforts before would not have led to the same effect as at the later stage. Did not. What before would have resulted in garage music, becomes punk instead. And, despite some si
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I have not got a command of this subjectmatter, but my impression is that one important difference has to do with "Zeitgeist". As to London during one time in the '60s, there is talk about a transition in culture from one, named "the angry young men" to "Swinging London". An excerpt from a site I have copied and enter • London was the center of the youth-
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A generation outlook that the English punk scene seemed to adopt as a common denominator, despite the variation between punk bands, according to those who wrote about it, and in marked contrast to the pop leanings of for instance the Ramones, was the epitet "No future". The anger that was articulated by certain punk bands expressed that slogan and signal. Be it a truth or only a myth a
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QuoteDandelionPowderman The Stones never did punk. However, they had the same attitude. Respectable or Lies aren't more punk than, say, She Said Yeah or I Wanna Be Your Man. The fact that Charlie changed his technique isn't THAT important here, imo, it's the raw, sweaty blues rock with attitude that comes across to the listener. Well, without itself being punk, “Lies” much
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As to my listening to SOME GIRLS, "Respectable" has been fully OK, but to me one of the minor (or medium) songs of the album. I have liked "Lies" far more; And the really great songs on the album to me have been and are three: "Miss You", "Far Away Eyes", and "Shattered". DAMNED, DAMNED, DAMNED is a superb punk album, yes. As outright punk, p
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QuoteFortuneTeller800 I see what you're saying. yes, that would give the song a very different spin. And throughout the song he does shift freely (with poetic license) in his stance. Not the stance of his opinion, but the position from where the narrator is speaking. Still - I think it is fairly obvious what Jagger's position is, and when the shifts occur, what is being delivered. E.
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QuoteFortuneTeller800 QuoteWitness QuoteFortuneTeller800 QuoteCanYouHearTheMusic Of all their post-WWIII albums, I like this one the most. It's still not an album of theirs I get out very often, but there are some definite highlights. Question: Why is it a consensus that "Sweet Neo Con" is one of their worst songs/one of this album's worst songs? Are the people who claim
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QuoteFortuneTeller800 QuoteCanYouHearTheMusic Of all their post-WWIII albums, I like this one the most. It's still not an album of theirs I get out very often, but there are some definite highlights. Question: Why is it a consensus that "Sweet Neo Con" is one of their worst songs/one of this album's worst songs? Are the people who claim this a) libertarians, b) genuine f
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QuoteDandelionPowderman He would have done a few shows only. At least, that's they way I understood him. I once presented the same line of thinking as to Mick Taylor's limited role. It was when I asked myself if there might exist an outright honourable and creditable reason behind such a decision in his case. I found that it possibly could. To open up for a fulltime presence for
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QuoteWitness Quotevertigojoe I wonder if Mick really regrets his cheapness in not giving MT any songwriting credits. He drove him away by doing this i believe. Its a bit like a man having an affair with a beautiful young woman(Taylor), being inspired by her, wanting to be with her, but in the end opting to stay with his wife (Richards) despite the fact that the relationship is dead, he sure does
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