a whole lot of criticism for so long it's an inherent part of the fun and games of the whole phenemonon past a point. here be some of the story of the 'anybdy see my baby' 'constant craving' settlement too....

not a nice review; but thoughtful, however critical, and from someone who i think loves the music....

From the Oct. 2-8, 1997 issue of Metro:


Old and in the Way: The Rolling Stones lumber down a long slope of decline.

The Stones build 'Bridges to Babylon'; the Replacements are remembered on a two-record set

By Gina Arnold

THE ROLLING STONES' U.S. tour opened in Chicago last week, and according to the reports in the mainstream press, it was well worth attending. Reviewers used many positive but vague words such as "verve" and "stamina" to describe the band's performance, which, reading between the lines, meant the Stones were, as usual, only going through the motions.

The band took the stage--flanked by two giant, naked blowup women, one on her hands and knees, in the spirit of Marv Albert's accuser--90 minutes late. Most tellingly, in a 24-song set, only two numbers came from the band's latest album, Bridges to Babylon (Virgin). Of course, déjà vu is exactly what made critics everywhere enjoy the set; indeed, that the majority of songs were written before 1972 is what made the show tolerable to them at all. But that sense of nostalgia--along with the fact that the Stones began this tour before the new record was even released--is also a tacit admission from the band itself that Bridges to Babylon is trivial and unpromising, a mere excuse for the much more lucrative act of touring.

Bridges to Babylon is a wretchedly underwritten, go-though-the-motions album, mostly composed in the studio by Keith Richards and Mick Jagger last April and May. As on their last, oh, seven albums, the Stones tend to eke out one simple groove and then add some meaningless lyric for Jagger to repeat ad infinitum.

God forbid you should try to find something personal, insightful or deep in lyrics such as "Now we're always suffering / We're already lost"; "If you really want to tear up your mind ... you might as well get juiced"; or "Now I'm out--I'm out of control. Now I'm out--out of control."

The Stones, as always, have the good sense to collaborate with highly acclaimed artists. Here, they use famed producers Don Was, Danny Saber (Michael Hutchence) and the Dust Brothers (Beastie Boys, Beck), as well as the talents of crack musicians Waddy Wachtel, Wayne Shorter and Me'Shell Ndegeocello.

Still, nothing signifies the ennui of Bridges to Babylon better than the first single from the album, "Anybody Seen My Baby?" The song is a direct rip-off of k.d. lang's hit song "Constant Craving"--so much so that the Glimmer Twins (the joint name Jagger-Richards use to write and produce) had to give her co-writing credits rather than face a plagiarism lawsuit. (Sing to yourself "seen-my-bay-bee" to the tune of "con-stant-crave-ing," and you'll see.) "Anybody Seen My Baby?" also contains the rather familiar line "She was just [in] my imagination." And that's the best song on the album--by a long shot.

Meanwhile, for some reason, Richards has been going around dissing the Dust Brothers--who mixed "Anybody Seen My Baby?" and "Saint of Me"--on MTV, although it's hard to understand what he's saying, since he speaks as if he lacked both tongue and teeth.

FOR ALL their lameness, however, the Rolling Stones still clearly command an incredible amount of loyalty and respect in the hearts and minds of both critics and the paying public. Unlike poor U2, the Stones are selling out their tour (it reaches the Bay Area Nov. 14).

The Stones' great hold on the public's imagination (and pocketbooks) begs the question of what engenders such extreme devotion. Something about the music, the men or the legend that surrounds them has invoked much more depth of feeling for the Stones than for any other band or performer except the Beatles and Elvis--and this despite shameless displays of greed and grossness. Perhaps it's just the era of the Rolling Stones' artistic prime--mid-'60s swinging London--that still casts a warm glow of glamour over their every callow gesture.



ouch.

she has her pernts tho....

i not trying to raise a fuss or slam my fave band w this thread. part of the overall critique tho fair to say...that by bridges circa 97 they had been already making albums very very comparatively insubstantial etc... since early mid-eighties? just milking it? not fair really cause a lot of shows were just spectacular...tho that whole big stadium thing turned me off from the gitgo...

anyway...i found it and am sharing it here for opines and or amusement ...



Edited 1 time(s). Last edit at 2010-05-10 07:41 by Beelyboy.

Beelyboy,do you remember what Jagger promised ?
" a show “just as big, just as wonderful as Voodoo Lounge, but more interesting as far as the music's concerned. We'll be mixing up old favorites with new songs and some unusual things, and we'll play a mixture of theaters, clubs and stadiums. You're gonna have to be there.”

When asked why they always launch new material in New York, he zapped back: “Because you're the best press in the world,” flashing a million-dollar smile.

Quote

FOR ALL their lameness, however, the Rolling Stones still clearly command an incredible amount of loyalty and respect in the hearts and minds of both critics and the paying public

this is hard ...

Quote

Something about the music, the men or the legend that surrounds them has invoked much more depth of feeling for the Stones than for any other band or performer except the Beatles and Elvis--

True,isn't it ?



I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .

Can't and don't agree..But Reading between the lines and it looks like she didn't even see them in concert..
She doesn't know what she's talking about but then again they put down Exile too and Exile is
a much better album..

That MUST have been written by Gazza! Because, well, here: "a tacit admission from the band itself that Bridges to Babylon is trivial and unpromising, a mere excuse for the much more lucrative act of touring."

gazza DOES get around. hmmmmmm