And gone ...
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It's a pity Kurt isn't closer to the stage. (But maybe that is why his sound is OK?)
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QuoteHairball Quotedoitywoik Not sure if it was six or seven, but your're right about the different covers. Wrapped in a brown paper sleeve. As for Undercover, could it be that the album came with peel-off stickers in some parts of the world but not others? Or just a limited number of copies had the stickers? Did a quick search and found this old thread - Undercover (Sticker-Cover)
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Not sure if it was six or seven, but your're right about the different covers. Wrapped in a brown paper sleeve. As for Undercover, could it be that the album came with peel-off stickers in some parts of the world but not others? Or just a limited number of copies had the stickers?
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When the original LP was about to be released it was advertised as coming with peel-off stickers. When the album actually came out there were no peel-off stickers, of course. I don't know if the peel-off sticker thing was just another promotion gag to raise sales or if such a version had actually been envisaged. Back then it reminded me of the fuzz that had been made over the cover of the
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QuoteGasLightStreet QuoteGivenToFly15 That clip is actually two different tracks (rather badly) merged into one. The sound changes but it's the same take. Sounds like another track/part patched in to me as well. No idea if it's from another take or if it's just another part of the same take, always sounded like two different takes to me. There are also two versions of the sax s
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Great! Real Live is not the worst live album. Saw him in concert with Taylor back in 1984 I think it was, kind of OK concert (though not great, a bit mechanical). It was a twofer tour: first show Santana, second show Dylan, and in the end a jam with Santana, who snatched all the solos away from Taylor ...
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I could well imagine that Mick tells Chuck to prepare a (preliminary) list of songs according to such-and-such criteria, and then Mick makes his choice. It's a job you give somebody else because it's a dull job, and if you're the boss, like Mick, you have the final say anyway. Zappa didn't even rehearse his tour bands himself but had someone else do it for him.
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QuoteGasLightStreet Brilliant song, really. There is no room for improvement. Brilliant: definitely yes. No room for improvement: maybe there is. I always wish the jam in the end wouldn't fade out but go on a little longer. I certainly don't know all the bootleg versions and I don't know how many takes they actually did of the song. I'm pretty sure what can be heard of the
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Yeah, the funny thing is that back in the day, Bob Dylan stood for everything Frank Sinatra didn't stand for ... yet now singing his songs ... seems like things comming full circle ... (can it be unbroken? )
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Quoteryanpow TWFNO reminds me of Miracles by Jefferson Starship. Couldn't remember Miracles and checked it out on Youtube. Similar vibe but very different music. But, funnily, what Miracles reminded me of was Scarborough Fair in the Sergio Mendez version (the strings) ...
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OK, keeping fingers crossed!
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Quotemikey C New Studio Album on it's way! Guess or fact?
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Quotednewton99 Harlem Shuffle my vid Now that's finally really a non-warhorse! Honestly speaking, I do not really appreciate the slower tempo and Mick doesn't quite hit the high notes but they are finally getting out of their usual way and take a bit of a risk! And - of course - it works!
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Quotedcba Yup one has Keef written all over it = it's badass hard as a rock and it's as fresh as it was in 75. The other one has MT written all over it = it's dated, meek and it reeks of 70's prog-rock. Prog-rock seems a bit far-fetched. I also think that Time Waits For Noone is a great song musically, and the lyrics are definitely better than the Slave lyrics. TWFNO depen
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Yeah, come back Ian, we need your input!
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QuoteKRiffhard Thanks for the link. Sounds like they (Keith and Sheryl) fooled around a bit with in the studio but nothing useful (/releasable) became of it. QuoteNikkei I just listened to both versions from the 2002 sessions and what strikes me about them talking in between is how diletantic they seem. If this was in 2002, I can't see how Keith worked with Sheryl Crow on this before.
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QuoteKRiffhard I think that the version recorded with Sheryl in 2001 is far superior. Now I am kinda puzzled. So Sheryl Crowe recorded a version that did not get released? Apart from the (very) basic structure, the Paris version and the CH version of "Just Because/Trouble" are very different. "Just because" sounds like the Stones trying to be a crossbreed of Status Quo an
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Tim's also fine with me. Also, I don't see why Slave shouldn't work in a stadium. I think it would work well if played well.
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Quotedcba But Jagger doesn't have a sax player at hand who, live, would elevate the song to the sublime level the studio version reaches. In short : Denson ain't no Rollins. That's what rehearsals are for. I'd rather give Denson a chance than not have Slave at all.
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Quoteryanpow What would Mick do for most of the song ? What does Mick do during Keith's solo spot? --- Oh, Rockman answered that already
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One to share?
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At least, it added a grain of pepper to the discussion ...
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Seems like you can't have two things at once. There's no Keith with dyed hair and bandana, and no Keith with natural hair without the bandana. We have the choice between a Keith with natural hair and a bandana or a Keith without bandana but with hair dyed. But have there been any press comments on Keith's recent hair at all? - Still remembering the headlines from back when Charl
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QuoteHairball A REAL surprise would be if they played a brand new original song, but we know that's not going to happen until 2023 at the earliest. You're absolutely right, of course! I just grew so pessimistic in this respect that I dare not even dream of this any longer. And hopes were high in this respect when the tour started, and considering the fact that they spent the past co
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Possibly also (but certainly not only) has to do with the length(s) of albums. An LP used to be ~40 min long, subdivided 2x20 min. Much care was taken to make each side a coherent musical event that ideally can even stand on its own feet. In the Stones' catalogue, Tattoo You for me is an example of a masterfully tracked album with two sides that are quite different in character and work each
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Ha, they could do it Floyd-style, like have in come down from out of the dark above onto the stage, and at the end let it go up in flames, or have it grow wings and let it fly off ... would be a cool gag!
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No, he's blaming himself as well. But anyhow, the whole thing appears to have been a mess from beginning to end.
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Great pics! That's what makes snapshots so interesting: you get to see things that take place during a (split-)second only and that would be lost otherwise.
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