Then they moved to California to be free: I knew that woman to the left of Hef in high school, Barbie Benton who was Barbara Klein back then. And she was really nice for such a beautiful girl, I will never forget her. jb
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"Sir" Douglas Quintet also from Texas jb
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Whats the consensus on the Exile on Main Street 7" record box that was available from the official store? I bought one and love it but I doubt its all that rare, although it was certainly aimed at a niche market with 7" singles. jb
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DBT? jb
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jb
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Thanks hairball, I prefer the studio 1 version, a couple of them there as well before they moved on to Channel 1. Johnny Clarke used to be known as "Mr Do Over Man Song" because Bunny Lee had him cover whatever song was hot at the time. And right behind him was Albert Griffiths and the Gladiators. Bob Marley really hated that the Gladiators did even better versions of his songs than
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a present day analysis of the lyrics to "Brown Sugar" ought to enliven the proceedings! jb
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heavy vibe jb
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Sorry for contributing to leading this thread all off topic, but I just want to say one thing. Well, more like three things: ><I cannot recall how the tune goes or the melody much less the "groove".> >That says it all, doesn't it? You never let it grow on you. You don't even know >it! Sir, it has taken maybe a good twenty years to erase that one from
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Well, then there was Prince, but that was some time ago also. My thing with Peter Tosh was I was negatively impressed with how unreceptive the audience was when they were being presented with not only Mr Tosh but also his backing band of world class reggae players. I think I was the only one there with an appreciation for reggae music and that was in Oakland, later a major hub of reggae music
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Its a well known fact that American audiences are amongst the rudest in the world. One reason why opening for the Rolling Stones is not quite what it might be. Seems American audiences will put up with an opening act, no matter how good they are, for about 20 minutes tops and then they start to get restless and the cries of "We want the Stones" begins followed shortly by objects hurled
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Yeah I hear you on the corporate thing and the changing crowds. And the expense. That's why I basically quit participating in a lot of that circus quite a while ago now. Come to our festival in California and I promise you a nice weekend of music for not a great amount of cash. Might be up and running again next year after some health problems amongst the principals. www.snwmf.com N
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Well I am in Norte America and believe me I wouldn't pay anywhere near that and I don't even have a phone capable of sending or receiving text messages (much less taking pictures or recording audio or video). So I guess that leaves me out. I like audience participation but it has its limits. Like when drunk Jose is barfing down your neck. True story. jb
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there might be a slight difference between a "silent audience" and one being encouraged to take over the vocal duties while the vocalist is otherwise occupied. jb
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Personally, I don't go to gigs like this to listen to myself and my fellow crowd members sing. I think its boring but from the bands side it takes the pressure off the singer for awhile. But then they begin to use it as a crutch. I prefer to have mick just stand there and concentrate on singing, but that aint gonna happen either. oh well. jb
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Hairball comes through with the heavy vibes once again...with that Pressure Sounds/Scorpio 45. heres what I'm checking right now, more local people making it good (WABAC stye) jb
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I think that IORR display is called a counter top display, sent out to record stores around the time of the album release. I would pay for that, its muy kool. jb
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the second jjf video (with the war paint) and its only rock and roll sit right up near the top for me too. jb
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In no way is Miss You in the same category as Emotional Rescue, at least not in my book. No reason to even use them in the same sentence unless its a ying yang kind of thing. And this Streets of Love? I have to confess I have never heard it, and the Stones have a long history of picking the worst song on an album for release as a single. At least since the mid 70s. But this Streets of Love, I
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Well, Rocky, I just think I'm going mad. Me or the world. jb
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Like Rockman says these used to be very special when they were released, and usually just got broadcast a time or two and were very easy to miss. I loved Video Rewind with Bill hosting when that came out on VHS and played that vid to death. Nowadays we don't really realize it what with YouTube and all, but back then the release of a new Stones video was something to look forward to. jb
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I never understood why the put out the song "Emotional Rescue" at all, and really gobsmacked they put it out as a single...and named the album after it. That song is so ridiculous I was (and remain) embarrassed by it. That part with Jagger doing the Casanova little rap kinda thing, so funny. Maybe it was supposed to be funny and I just didn't get it. sorry for being off topic.
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That series from Some Girls or She's So Cold. jb
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>He played a mean tambourine. Ha Ha! I got the same impression, that he was a major hanger-on whose main talent was being born with a gold spoon in his mouth. Seems his attention span was very short and he always left partners in a lurch when it came down to it. Every project cancelled or otherwise not fulfilled, but lots of talk. Cracked me up some of the stuff in there like how whateve
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I have usually stuck them inside a record album or single that was current in the time. And there they remain. jb
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Some really really kool stuff in there. I would love to see some photos of stonesstein's stuff. most of it I have never heard of. and totally awesome display. totally totally awesome display. would be right in front of whatever around my house. I wonder what the story was on that, aside from it obviously being a record store display item. I never saw one in any record store at that time,
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>Flowers would have been more useful to U.S. fans if they deleted the repeated >tracks from the U.S. versions of Aftermath and Between The Buttons Ruby Tuesday, >Let's Spend The Night Together and Lady Jane and included the missing b-sides and >U.K. only tracks Sad Day, Long, Long While, Who's Driving Your Plane and What To >Do. absolutely correct, in fact your
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jb
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To anyone familiar with the UK releases, Flowers was mostly a throwaway album, yet another compilation. But if you grew up on the USA versions, it filled a lot of holes. And it turned out to stand pretty well on its own. And Doxa is absolutely correct about the different marketing models used in the UK vs the US. In the UK it was considered cheating to put the single on the LP as most were alr
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I think we essentially agree on the payback, but to me respect is one thing, cold hard cash is another. And you have to remember back during the so called british blues revival, most songs did not get credited to their publisher but instead credit was taken for both lyrics and music. Look at the Stones records for instance, I mean, wasn't Love In Vein (sorry) written by Robert Johnson? Pe
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