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Some Girls Reissue & Live in Texas press
Posted by:
proudmary
()
Date: November 21, 2011 18:40
@#$%& Guilty Pleasures
@#$%& Guilty Pleasures: Is Exile The Best Stones' Album? Nope, It's Some Girls
By Lina Lecaro Mon., Nov. 21 2011 at 5:30 AM
Today marks the re-release of the Rolling Stones' 1978 album Some Girls, which has been remastered and expanded. Though it was a commercial success, having gone platinum six times, it was also considered something of a joke at the time. There were the lyrics, of course, but the main thing is that it was considered their "disco album."
Indeed, this was right at disco's peak, and at the height of its backlash, when riled-up rockers wore "disco sucks" tees and rock radio stations often organized burnings of Bees Gees and Village People vinyl. The genre blending might have seemed arty and cool in New York and Paris where it was recorded, but in middle America...not so much. "Miss You" saw multiple club versions and an extended 12" re-mix they even called their "Special Disco Version." It was a blatant attempt at infiltrating the dance floor, along the lines of Rod Stewart's "Do You Think I'm Sexy" and KISS's "I Was Made For Loving You."
Somehow, however, The Stones managed to hold onto their credibility. Critics for the most part didn't have a problem with the band's attempts to blur the line between rock and club music. The lyrics were another story. In reference to "Miss You" and "Beast of Burden," Rolling Stone's Paul Nelson carped in his review, "why is this man lying when he's obviously pleased as punch with himself and is getting roomfuls of satisfaction?"
Despite the perceived disingenuousness of Jagger's lovelorn numbers and hedonist flair of Studio 54 that Some Girls seemed set on conjuring -- via risqué subject matter and four-on-the-floor rhythms -- the band's core rock sensibility remained in tact. Some recording studio embellishments, such as Richards' use of pedal effects, diluted their signature blues style a bit, but the songs remained dynamic and seductive. "Shattered" feels almost new wavey and even rap-inspired, pre-dating Blondie's "Rapture."
"Beast of Burden," and the cover of "Just My Imagination" meanwhile, are classic R&B with a twist, both featuring some nice guitar contributions from Ronnie Wood. There's still a little twang in there -- the hokey but fun "Far Away Eyes" -- and straight-up riff-rock as well, in the form of "When the Whip Comes Down" and "Respectable." And let's not forget Keith Richards' obligatory solo ditty, "Before They Make Me Run," about his heroin arrest the year before.
This is daring stuff, likely brimming with more drug and sex references than any other Stones work before or since. For my money, Some Girls is not only as respectable as the universally lauded Exile On Main Street -- it's better. Sure, Exile is filled with gritty, hook-filled gems; it's cohesive and there's a certain soothing flow about it. But Some Girls shook shit up. It took more chances, and they paid off.
I became enamored with the record as a small child. "Miss You" was my dad's favorite song, and I heard it a lot. Dad always liked the part about Mick hanging out with "some Puerto Rican girls just dyyyyying to meet you," which, I assumed was because it's nice to hear your people referenced in a pop song. (We aren't Puerto Rican, but we are Latino.) For me, it was all about the catchy chorus. In fact, it's responsible for turning me into a life-long falsetto freak. (Prince later contributed.)
The album's explicit lyrics didn't really register with me until I re-discovered it decades later. And despite my feminist leanings, I ended up loving the title track most.
The harmonica parts are wicked sexy and so are Jagger's mischievous shout-outs to a bevy of international babes: "French Girls they want Cartier, Italian girls want cars;" "Chinese girls are so gentle;" "Black just want to get @#$%& all night, I just don't have that much jam." Stereotypes? Maybe, but they're not meant to be serious, simply provocative. Jesse Jackson actually demanded an apology for the black girls line when it came out, but he never got one.
Explaining the origin of the song, Richards is often quoted from a 1978 interview; the band would refer to their groupies as "some girls" because they could "never remember their @#$%&' names." Perhaps that's sexist. But it doesn't say anything about females that hasn't been said many times before, and in much less clever ways.
With Some Girls, the Stones pushed their bad boy images further than they did on Exile, or even on Sticky Fingers. The album is their most audacious and unapologetic release, on both a lyrical and musical level. Even the androgynous cover, which puts the band members in lipstick and wigs, is shameless. The best rock n' roll is. Some Girls set a new bar, and I'm still a sucker for every sultry groove and sleazy line.
[blogs.laweekly.com]
Edited 2 time(s). Last edit at 2011-11-29 22:13 by proudmary.
@#$%& Guilty Pleasures: Is Exile The Best Stones' Album? Nope, It's Some Girls
By Lina Lecaro Mon., Nov. 21 2011 at 5:30 AM
Today marks the re-release of the Rolling Stones' 1978 album Some Girls, which has been remastered and expanded. Though it was a commercial success, having gone platinum six times, it was also considered something of a joke at the time. There were the lyrics, of course, but the main thing is that it was considered their "disco album."
Indeed, this was right at disco's peak, and at the height of its backlash, when riled-up rockers wore "disco sucks" tees and rock radio stations often organized burnings of Bees Gees and Village People vinyl. The genre blending might have seemed arty and cool in New York and Paris where it was recorded, but in middle America...not so much. "Miss You" saw multiple club versions and an extended 12" re-mix they even called their "Special Disco Version." It was a blatant attempt at infiltrating the dance floor, along the lines of Rod Stewart's "Do You Think I'm Sexy" and KISS's "I Was Made For Loving You."
Somehow, however, The Stones managed to hold onto their credibility. Critics for the most part didn't have a problem with the band's attempts to blur the line between rock and club music. The lyrics were another story. In reference to "Miss You" and "Beast of Burden," Rolling Stone's Paul Nelson carped in his review, "why is this man lying when he's obviously pleased as punch with himself and is getting roomfuls of satisfaction?"
Despite the perceived disingenuousness of Jagger's lovelorn numbers and hedonist flair of Studio 54 that Some Girls seemed set on conjuring -- via risqué subject matter and four-on-the-floor rhythms -- the band's core rock sensibility remained in tact. Some recording studio embellishments, such as Richards' use of pedal effects, diluted their signature blues style a bit, but the songs remained dynamic and seductive. "Shattered" feels almost new wavey and even rap-inspired, pre-dating Blondie's "Rapture."
"Beast of Burden," and the cover of "Just My Imagination" meanwhile, are classic R&B with a twist, both featuring some nice guitar contributions from Ronnie Wood. There's still a little twang in there -- the hokey but fun "Far Away Eyes" -- and straight-up riff-rock as well, in the form of "When the Whip Comes Down" and "Respectable." And let's not forget Keith Richards' obligatory solo ditty, "Before They Make Me Run," about his heroin arrest the year before.
This is daring stuff, likely brimming with more drug and sex references than any other Stones work before or since. For my money, Some Girls is not only as respectable as the universally lauded Exile On Main Street -- it's better. Sure, Exile is filled with gritty, hook-filled gems; it's cohesive and there's a certain soothing flow about it. But Some Girls shook shit up. It took more chances, and they paid off.
I became enamored with the record as a small child. "Miss You" was my dad's favorite song, and I heard it a lot. Dad always liked the part about Mick hanging out with "some Puerto Rican girls just dyyyyying to meet you," which, I assumed was because it's nice to hear your people referenced in a pop song. (We aren't Puerto Rican, but we are Latino.) For me, it was all about the catchy chorus. In fact, it's responsible for turning me into a life-long falsetto freak. (Prince later contributed.)
The album's explicit lyrics didn't really register with me until I re-discovered it decades later. And despite my feminist leanings, I ended up loving the title track most.
The harmonica parts are wicked sexy and so are Jagger's mischievous shout-outs to a bevy of international babes: "French Girls they want Cartier, Italian girls want cars;" "Chinese girls are so gentle;" "Black just want to get @#$%& all night, I just don't have that much jam." Stereotypes? Maybe, but they're not meant to be serious, simply provocative. Jesse Jackson actually demanded an apology for the black girls line when it came out, but he never got one.
Explaining the origin of the song, Richards is often quoted from a 1978 interview; the band would refer to their groupies as "some girls" because they could "never remember their @#$%&' names." Perhaps that's sexist. But it doesn't say anything about females that hasn't been said many times before, and in much less clever ways.
With Some Girls, the Stones pushed their bad boy images further than they did on Exile, or even on Sticky Fingers. The album is their most audacious and unapologetic release, on both a lyrical and musical level. Even the androgynous cover, which puts the band members in lipstick and wigs, is shameless. The best rock n' roll is. Some Girls set a new bar, and I'm still a sucker for every sultry groove and sleazy line.
[blogs.laweekly.com]
Edited 2 time(s). Last edit at 2011-11-29 22:13 by proudmary.
Re: Some Girls re-release press
Posted by:
proudmary
()
Date: November 21, 2011 18:43
The Rolling Stones: Some Girls (Reissue) – review
(A&M, two CDs)
Michael Hann
guardian.co.uk, Thursday 17 November 2011 23.40 GMT
4* of 5
The Rolling Stones
Some Girls (2CD Deluxe Digipack Edition)
A&M
2011
The unceasing campaign by the Stones' camp to wring every last drop of revenue out of one of rock's great catalogues continues with this deluxe version of what's widely considered their last great album, the lure being a second CD of 12 other songs from that era. Why couldn't they have put out those songs when the remastered version of Some Girls appeared two years ago? The tracks themselves – tidied up from demos with the help of producers Chris Kimsey and Don Was – are no disgrace. You can see why they didn't work on the original album – with the exception of So Young, yet another Jagger lyric about age-inappropriate lust, they don't quite fit with its vicious tone – but they'd make a decent mid-70s Stones record on their own. The highlights come when the band go country – No Spare Parts is a beautifully restrained country-rock ballad that would have graced Exile on Main Street, and a cover of We Had It All, once a hit for Waylon Jennings, has a vulnerability perfect for Keith Richards' wracked voice.
[www.guardian.co.uk]
(A&M, two CDs)
Michael Hann
guardian.co.uk, Thursday 17 November 2011 23.40 GMT
4* of 5
The Rolling Stones
Some Girls (2CD Deluxe Digipack Edition)
A&M
2011
The unceasing campaign by the Stones' camp to wring every last drop of revenue out of one of rock's great catalogues continues with this deluxe version of what's widely considered their last great album, the lure being a second CD of 12 other songs from that era. Why couldn't they have put out those songs when the remastered version of Some Girls appeared two years ago? The tracks themselves – tidied up from demos with the help of producers Chris Kimsey and Don Was – are no disgrace. You can see why they didn't work on the original album – with the exception of So Young, yet another Jagger lyric about age-inappropriate lust, they don't quite fit with its vicious tone – but they'd make a decent mid-70s Stones record on their own. The highlights come when the band go country – No Spare Parts is a beautifully restrained country-rock ballad that would have graced Exile on Main Street, and a cover of We Had It All, once a hit for Waylon Jennings, has a vulnerability perfect for Keith Richards' wracked voice.
[www.guardian.co.uk]
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 21, 2011 18:46
The Rolling Stones, “Some Girls” (Deluxe Edition) (Universal Music Group). 5 stars
Ever since The Rolling Stones got all those raves and commercial success for issuing a deluxe expanded edition of “Exile on Main Street” last year, it’s been worth wondering what might happen if they gave the same treatment to a really good album from their vaults.
Oh, don’t get all wigged out you “Exile on Main Street” freaks, it’s just that the revered album was always overrated, and there are better albums in the Stones’ rich canon.
Like this one.
There are various configurations of the remastered “Some Girls” being released, and the big news here is that the new editions feature a dozen bonus tracks of songs left in the vaults way back then. Some have had new Mick Jagger vocals added to them, and the fact that you can’t be sure which is the 1978 Mick and which is the more recent Mick is a testimony to his durability.
“Some Girls” was the work of a veteran band (yes they were a veteran band even in 1978), hitting the streets of the city while melding a particular blend of rock, blues and funk as only the Stones can. The original album contains what is arguably their funkiest song ever in “Miss You” the fiery “Respectable” and “Shattered,” along with the country-flavored “Far Away Eyes,” and Keith Richards’ magnificent “Before They Make Me Run.”
From college campuses to nightclubs, it was just about the only album that anyone played when it was first released and it was further bolstered by “Beast of Burden,” a cover of the Temptations’ “Just My Imagination (Running Away With Me),” the title track and practically every other song on the record. There were no duds. It was one of the great moments in the history of the band, thanks to Jagger and Richard no doubt, but also Ronnie Wood, who had perfectly worked his way into the second guitar spot by that point and the ever-solid rhythm section of Charlie Watts and Bill Wyman.
And then there are the bonus tracks. As bonus tracks go, these are a step above most, and several could have arguably made the final cut of the original album.
“Claudine” rocks and spotlights Ian Stewart’s piano, “So Young,” is raw, lusty and a perfect Jagger song from this period, while “No Spare Parts,” the deluxe album’s first single, carries a country edge. Richards’ ballad “We Had it All,” offers a convincing remake of the Troy Seals/Donnie Fritts’ song.
Speaking of covers, there are two dandies here, notably the fevered “Tallahassee Lassie” a hit for Freddy Cannon in 1959, and the very country, Hank Williams-penned “You Win Again.” In addition to several other selections there’s a very topical, very brief “Petrol Blues” with Jagger accompanying himself on piano.
Truth be told the bonus cuts alone could have added up to a very decent album on their own, but here, they add to what was already a masterpiece.
[blog.masslive.com]
Ever since The Rolling Stones got all those raves and commercial success for issuing a deluxe expanded edition of “Exile on Main Street” last year, it’s been worth wondering what might happen if they gave the same treatment to a really good album from their vaults.
Oh, don’t get all wigged out you “Exile on Main Street” freaks, it’s just that the revered album was always overrated, and there are better albums in the Stones’ rich canon.
Like this one.
There are various configurations of the remastered “Some Girls” being released, and the big news here is that the new editions feature a dozen bonus tracks of songs left in the vaults way back then. Some have had new Mick Jagger vocals added to them, and the fact that you can’t be sure which is the 1978 Mick and which is the more recent Mick is a testimony to his durability.
“Some Girls” was the work of a veteran band (yes they were a veteran band even in 1978), hitting the streets of the city while melding a particular blend of rock, blues and funk as only the Stones can. The original album contains what is arguably their funkiest song ever in “Miss You” the fiery “Respectable” and “Shattered,” along with the country-flavored “Far Away Eyes,” and Keith Richards’ magnificent “Before They Make Me Run.”
From college campuses to nightclubs, it was just about the only album that anyone played when it was first released and it was further bolstered by “Beast of Burden,” a cover of the Temptations’ “Just My Imagination (Running Away With Me),” the title track and practically every other song on the record. There were no duds. It was one of the great moments in the history of the band, thanks to Jagger and Richard no doubt, but also Ronnie Wood, who had perfectly worked his way into the second guitar spot by that point and the ever-solid rhythm section of Charlie Watts and Bill Wyman.
And then there are the bonus tracks. As bonus tracks go, these are a step above most, and several could have arguably made the final cut of the original album.
“Claudine” rocks and spotlights Ian Stewart’s piano, “So Young,” is raw, lusty and a perfect Jagger song from this period, while “No Spare Parts,” the deluxe album’s first single, carries a country edge. Richards’ ballad “We Had it All,” offers a convincing remake of the Troy Seals/Donnie Fritts’ song.
Speaking of covers, there are two dandies here, notably the fevered “Tallahassee Lassie” a hit for Freddy Cannon in 1959, and the very country, Hank Williams-penned “You Win Again.” In addition to several other selections there’s a very topical, very brief “Petrol Blues” with Jagger accompanying himself on piano.
Truth be told the bonus cuts alone could have added up to a very decent album on their own, but here, they add to what was already a masterpiece.
[blog.masslive.com]
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 21, 2011 18:53
Album: The Rolling Stones, Some Girls Deluxe Edition (Universal)
ANDY GILL
5 stars
Enthused by the contemporary influences of punk and disco, the Stones' 1978 offering Some Girls was easily their best since Exile on Main Street, spawning such hits as "Miss You", "Beast of Burden" and "Respectable".
And as the extra dozen outtakes confirm, there was plenty to spare, from the rollicking R&B of "So Young" and Chicago blues of "When You're Gone" to the frowsy country style of "No Spare Parts" and the Hank Williams cover "You Win Again", with Ronnie Wood's lachrymose pedal steel curling around the songs. The opener "Claudine" is a Jerry Lee Lewis-style rockabilly rave-up, in which Jagger doggedly breaches PC protocol with his advice to keep the safety catch on when pistol-whipping one's wife. It all adds up to probably the best Stones album since... well, since Some Girls, actually.
[www.independent.co.uk]
ANDY GILL
5 stars
Enthused by the contemporary influences of punk and disco, the Stones' 1978 offering Some Girls was easily their best since Exile on Main Street, spawning such hits as "Miss You", "Beast of Burden" and "Respectable".
And as the extra dozen outtakes confirm, there was plenty to spare, from the rollicking R&B of "So Young" and Chicago blues of "When You're Gone" to the frowsy country style of "No Spare Parts" and the Hank Williams cover "You Win Again", with Ronnie Wood's lachrymose pedal steel curling around the songs. The opener "Claudine" is a Jerry Lee Lewis-style rockabilly rave-up, in which Jagger doggedly breaches PC protocol with his advice to keep the safety catch on when pistol-whipping one's wife. It all adds up to probably the best Stones album since... well, since Some Girls, actually.
[www.independent.co.uk]
Re: Some Girls Reissue press
Posted by:
R
()
Date: November 21, 2011 18:58
Them that can't, teach.
Them that can't even teach, write reviews.
Them that can't even teach, write reviews.
Re: Some Girls Reissue press
Posted by:
StonesTod
()
Date: November 21, 2011 19:03
Quote
R
Them that can't, teach.
Them that can't even teach, write reviews.
what do we do if we can't even write reviews?
Re: Some Girls Reissue press
Posted by:
mr_dja
()
Date: November 21, 2011 19:12
Quote
StonesTodQuote
R
Them that can't, teach.
Them that can't even teach, write reviews.
what do we do if we can't even write reviews?
Blog
Peace,
Mr DJA
Re: Some Girls Reissue press
Posted by:
StonesTod
()
Date: November 21, 2011 19:20
Quote
mr_djaQuote
StonesTodQuote
R
Them that can't, teach.
Them that can't even teach, write reviews.
what do we do if we can't even write reviews?
Blog
Peace,
Mr DJA
that's so 21st century. i prefer whining, which is timeless...
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 22, 2011 16:07
Mick Jagger and Keith Richards on ‘Some Girls’ reissue and the bands upcoming 50th anniversary
By Associated Press, Tuesday, November 22, 2:27 PM
NEW YORK — Keith Richards equates the rush to release the Rolling Stones’ seminal album “Some Girls” as “the same as cutting off your baby’s head.”
“We couldn’t release a double album and we were on deadline,” the guitarist said of the 1978 recording. “Sometimes you’re really getting into tracks you want to finish, but they don’t make (it) because time was up.”
Now many of those songs will be included when the album is re-released on Tuesday as a double disc with previously unreleased material. A box set from the album also is being released.
Mick Jagger said “Some Girls” was a pivotal album for the band.
“The records that came before this were not as good. This was better,” Jagger said, referencing the heavily produced “Goats Head Soup,” and “It’s Only Rock and Roll,” which preceded it.
At the time, punk rock and disco were threatening the old “dinosaur rockers,” as Richards said, so the band had to get back to its basic stripped-down sound.
“The punks started to kick us ... the Sex Pistols, and The Clash, and other bands were coming out and we realized we were already in a second generation,” Richards said.
One of the album’s biggest hits, and also the most criticized at the time, was the dance track “Miss You.”
“It’s not like we wanted to make a career out of disco; it just happened to be that beat, and Mick came up with this beautiful idea. If you’re ever gonna do disco, you got to do it now. It was like a one-off,” Richards said.
Jagger, who says he loves all forms of dance music from the 1930s to house music, didn’t know why it mattered.
“I never thought for one minute that people would criticize you for doing something with a dance beat,” Jagger said. “So the idea of it being ‘Bob Dylan going electric’ never occurred to me.”
The song went to No. 1 on the Billboard chart, and spawned a variety of dance mixes.
Next year, the band will celebrate its 50th anniversary, and there’s a great deal of speculation as to whether the band will tour for their milestone.
“I’m hoping to do something about it. Right now, I don’t want to go too much into it. I’m pulling the boys together and (will) see what happens. It’s a work in progress. I’m not Nostradamus on this, but we all want to do something for the big 5-0,” Richards said.
All Jagger would say is that “we have a lot of things planned, who knows what will come to fruition.”
According to Richards, he and Jagger recently mended fences after Richards revealed too much about his songwriting partner in his autobiography earlier this year.
“He’s a brother, a best friend, and probably the most contentious person I know. All collaborations are like that. Nothing goes totally smoothly, but we always patch it up. We patched it up now. The thing is we enjoy working with each other; it’s the idea of it that’s frightening,” Richards laughed.
The duo has written most of the Rolling Stones music, and though Jagger usually sings them, Richards does have his signature tracks. Among them is “Before They Make Me Run” from “Some Girls”; it has become one of his favorite songs to perform.
“It’s pretty autobiographical. ... I was feeling a little hounded, so I think it came out of feeling that. I was on the run, basically. Very few countries would accept me at the time,” said Richards, who was facing a potentially long prison sentence at the time because of a heroin possession charge in Toronto.
Other major hits from the album include, “Shattered,” the Temptations cover of “Just My Imagination (Running Away With Me),” and “Beast of Burden.”
While Richards said the unreleased music was ready to go, Jagger did say he tinkered with the remixes.
“’Claudine’ and ‘Tallahassee Lassie’ were all more or less as (they) were. I just listened and said, ‘Do they need a bit of percussion or a harmony vocal?,’ but apart from that they’re fine,” Jagger said.
Richards is just happy that the band gets to release “Some Girls” with the songs they wanted to include.
“In a way it’s interesting to put the head back on the baby,” Richards said.
[www.washingtonpost.com]
By Associated Press, Tuesday, November 22, 2:27 PM
NEW YORK — Keith Richards equates the rush to release the Rolling Stones’ seminal album “Some Girls” as “the same as cutting off your baby’s head.”
“We couldn’t release a double album and we were on deadline,” the guitarist said of the 1978 recording. “Sometimes you’re really getting into tracks you want to finish, but they don’t make (it) because time was up.”
Now many of those songs will be included when the album is re-released on Tuesday as a double disc with previously unreleased material. A box set from the album also is being released.
Mick Jagger said “Some Girls” was a pivotal album for the band.
“The records that came before this were not as good. This was better,” Jagger said, referencing the heavily produced “Goats Head Soup,” and “It’s Only Rock and Roll,” which preceded it.
At the time, punk rock and disco were threatening the old “dinosaur rockers,” as Richards said, so the band had to get back to its basic stripped-down sound.
“The punks started to kick us ... the Sex Pistols, and The Clash, and other bands were coming out and we realized we were already in a second generation,” Richards said.
One of the album’s biggest hits, and also the most criticized at the time, was the dance track “Miss You.”
“It’s not like we wanted to make a career out of disco; it just happened to be that beat, and Mick came up with this beautiful idea. If you’re ever gonna do disco, you got to do it now. It was like a one-off,” Richards said.
Jagger, who says he loves all forms of dance music from the 1930s to house music, didn’t know why it mattered.
“I never thought for one minute that people would criticize you for doing something with a dance beat,” Jagger said. “So the idea of it being ‘Bob Dylan going electric’ never occurred to me.”
The song went to No. 1 on the Billboard chart, and spawned a variety of dance mixes.
Next year, the band will celebrate its 50th anniversary, and there’s a great deal of speculation as to whether the band will tour for their milestone.
“I’m hoping to do something about it. Right now, I don’t want to go too much into it. I’m pulling the boys together and (will) see what happens. It’s a work in progress. I’m not Nostradamus on this, but we all want to do something for the big 5-0,” Richards said.
All Jagger would say is that “we have a lot of things planned, who knows what will come to fruition.”
According to Richards, he and Jagger recently mended fences after Richards revealed too much about his songwriting partner in his autobiography earlier this year.
“He’s a brother, a best friend, and probably the most contentious person I know. All collaborations are like that. Nothing goes totally smoothly, but we always patch it up. We patched it up now. The thing is we enjoy working with each other; it’s the idea of it that’s frightening,” Richards laughed.
The duo has written most of the Rolling Stones music, and though Jagger usually sings them, Richards does have his signature tracks. Among them is “Before They Make Me Run” from “Some Girls”; it has become one of his favorite songs to perform.
“It’s pretty autobiographical. ... I was feeling a little hounded, so I think it came out of feeling that. I was on the run, basically. Very few countries would accept me at the time,” said Richards, who was facing a potentially long prison sentence at the time because of a heroin possession charge in Toronto.
Other major hits from the album include, “Shattered,” the Temptations cover of “Just My Imagination (Running Away With Me),” and “Beast of Burden.”
While Richards said the unreleased music was ready to go, Jagger did say he tinkered with the remixes.
“’Claudine’ and ‘Tallahassee Lassie’ were all more or less as (they) were. I just listened and said, ‘Do they need a bit of percussion or a harmony vocal?,’ but apart from that they’re fine,” Jagger said.
Richards is just happy that the band gets to release “Some Girls” with the songs they wanted to include.
“In a way it’s interesting to put the head back on the baby,” Richards said.
[www.washingtonpost.com]
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 22, 2011 18:25
By Rob Sheffield
November 21, 2011
"I really like girls an awful lot," Mick Jagger confided to Rolling Stone in 1978. "And I don’t think I’d say anything really nasty about any of them." And yet the eternal kick of Some Girls is that Mick has a deliciously nasty word or two for everybody. Just when the Stones seemed to be fading away, they shadoobied back to life with some of their toughest songs ever: the punk sleaze of "Shattered," the soulful Keithness of "Beast of Burden," the late-night-disco desolation of the chart-topping "Miss You." The result was the Rolling Stones' funniest, trashiest, bitchiest LP – an all-time classic that remains their biggest- selling record.
So how do you improve an album like this? How about making it twice as long? This edition has 12 outtakes, most of which have been hoarded on bootlegs by Stones fanatics for years. Some of the bonus tracks are nearly as hot as the originals; certainly they live up to the Some Girls spirit, from the cheeky piano lament "Petrol Blues" to Keith Richards' tender Nashville cover "We Had It All."
Rolling Stones Unearth Material for 'Some Girls' Reissue
The Some Girls sessions were famously productive – mostly just the five Stones and engineer Chris Kimsey holed up in a Paris studio cutting dozens of songs. Some of the leftovers landed on later albums – see "Hang Fire" or "Black Limousine," both of which resurfaced on Tattoo You – while others were unfinished until now. The outtakes get refurbished with guitar overdubs and Mick's new vocals. But as on last year's Exile on Main St. reissue, the touch-ups usually improve bootleg versions – see "No Spare Parts," a twang-soul truck-stop reverie that finally gets the full-on Mick vocal it always deserved.
The best find is "Do You Think I Really Care," a countrified ramble through New York nightlife driven by Ronnie Wood's pedal steel and Charlie Watts' drums. Mick chases an erotic mirage all over the city, from the D train to Max's Kansas City. Who else but the Stones could blow off a song this great?
"Claudine" is one of their most notorious lost tunes, a Chuck Berry-style rocker lampooning the Claudine Longet/ Spider Sabich scandal. Over ragged guitars, Mick dishes about a Vegas singer who shot her Olympic-skier boyfriend. It might be a libel lawyer's cream dream ("Blood in the chalet, blood in the snow/She washed her hands of the whole damn show"), but it holds up as a funny satire of tawdry American celebrity – a condition the Stones knew well by this point.
You can hear Mick and Keith rediscover their Glimmer Twins chemistry, whether it's a blues groove like "When You're Gone" or a romp through the rockabilly chestnut "Tallahassee Lassie." (And this is just a taste of the treasures still in the vault – where the hell is "Fiji Jim"?) The whole package catches the Stones on a roll, thriving on the punk and funk energy in the air, with Mick driving the music and playing more guitar than ever. It's the ultimate version of the album that invented the Stones we've known ever since: mean, vital, gloriously unrepentant.
Read more: [www.rollingstone.com]
November 21, 2011
"I really like girls an awful lot," Mick Jagger confided to Rolling Stone in 1978. "And I don’t think I’d say anything really nasty about any of them." And yet the eternal kick of Some Girls is that Mick has a deliciously nasty word or two for everybody. Just when the Stones seemed to be fading away, they shadoobied back to life with some of their toughest songs ever: the punk sleaze of "Shattered," the soulful Keithness of "Beast of Burden," the late-night-disco desolation of the chart-topping "Miss You." The result was the Rolling Stones' funniest, trashiest, bitchiest LP – an all-time classic that remains their biggest- selling record.
So how do you improve an album like this? How about making it twice as long? This edition has 12 outtakes, most of which have been hoarded on bootlegs by Stones fanatics for years. Some of the bonus tracks are nearly as hot as the originals; certainly they live up to the Some Girls spirit, from the cheeky piano lament "Petrol Blues" to Keith Richards' tender Nashville cover "We Had It All."
Rolling Stones Unearth Material for 'Some Girls' Reissue
The Some Girls sessions were famously productive – mostly just the five Stones and engineer Chris Kimsey holed up in a Paris studio cutting dozens of songs. Some of the leftovers landed on later albums – see "Hang Fire" or "Black Limousine," both of which resurfaced on Tattoo You – while others were unfinished until now. The outtakes get refurbished with guitar overdubs and Mick's new vocals. But as on last year's Exile on Main St. reissue, the touch-ups usually improve bootleg versions – see "No Spare Parts," a twang-soul truck-stop reverie that finally gets the full-on Mick vocal it always deserved.
The best find is "Do You Think I Really Care," a countrified ramble through New York nightlife driven by Ronnie Wood's pedal steel and Charlie Watts' drums. Mick chases an erotic mirage all over the city, from the D train to Max's Kansas City. Who else but the Stones could blow off a song this great?
"Claudine" is one of their most notorious lost tunes, a Chuck Berry-style rocker lampooning the Claudine Longet/ Spider Sabich scandal. Over ragged guitars, Mick dishes about a Vegas singer who shot her Olympic-skier boyfriend. It might be a libel lawyer's cream dream ("Blood in the chalet, blood in the snow/She washed her hands of the whole damn show"), but it holds up as a funny satire of tawdry American celebrity – a condition the Stones knew well by this point.
You can hear Mick and Keith rediscover their Glimmer Twins chemistry, whether it's a blues groove like "When You're Gone" or a romp through the rockabilly chestnut "Tallahassee Lassie." (And this is just a taste of the treasures still in the vault – where the hell is "Fiji Jim"?) The whole package catches the Stones on a roll, thriving on the punk and funk energy in the air, with Mick driving the music and playing more guitar than ever. It's the ultimate version of the album that invented the Stones we've known ever since: mean, vital, gloriously unrepentant.
Read more: [www.rollingstone.com]
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 22, 2011 23:51
Great article from The New Yorker
CULTURE DESK
Notes on arts and entertainment from the staff of The New Yorker
SOME MORE GIRLS: TWELVE NEW ROLLING STONES SONGS*
Posted by Ben Greenman
Last year the Rolling Stones rereleased their landmark 1972 double album, “Exile on Main Street,” in a deluxe package stuffed full of extra material and wrapped in a thick layer of nostalgia. Now, the band is doing the same with “Some Girls,” the 1978 record which many consider their last truly great album. (Others cast their lot with “Tattoo You,” from 1981; few are willing to go any further into the eighties.) Given the number of products associated with the rerelease—a vinyl edition, a “Super Deluxe” package—you could be forgiven for dismissing the entire enterprise as a cash grab. But a closer look suggests that the album, like “Exile” before it, does something ambitious and weird.
The Stones have not only added rarities and outtakes from the period, but in some cases have updated unfinished tracks to make new songs. Mick Jagger and Keith Richards, along with the producer, Don Was, combed through boxes of old tapes, re-listening to various works-in-progress and deciding whether they might be helped along to completion. As a result, the 2011 version of “Some Girls” includes not only the original ten songs but a companion disc with twelve more songs: new to varying degrees, but all appearing for the first time in the Stones’ official canon.
“Some Girls” was recorded at a time when the Stones were fighting a war on three fronts: they were holding off the challenge of punk, making peace with the dominance of disco, and reconnecting with their country roots. It’s a fascinating, edgy hybrid of these goals, cohesive despite itself. It has “Shattered” for the punk clubs, “Miss You” for the dance floors, “Faraway Eyes” for the honky tonks, and a half-dozen other songs for the rest of us, including “Beast of Burden,” “When the Whip Comes Down,” and “Before They Make Me Run,” which Richards, in his autobiography, identifies as perhaps his most successful composition.
The new “Some Girls” reinforces the argument that the Stones, in 1978, were still a vital force in music rather than over-the-hill rockers. “No Spare Parts,” which was released as a single from the deluxe edition, has circulated widely on bootlegs for decades, and trying to guess how much of it is contemporary is part of the fun. (Is that a new Jagger verse?) The song is a snotty, surprisingly affecting bit of country-rock that serves as a near perfect example of the late-seventies Rolling Stones. Through the verses, Jagger elongates every vowel, almost comically, and the chorus has a wonderfully memorable melody. Other songs, like “Claudine” (about the actress and accused killer Claudine Longet) and “So Young” (about an underage fan) are superb moments of nasty, funny rock ‘n’ roll that would have been right at home alongside the lascivious title track “Some Girls.” They aren’t noticeably different than earlier bootleg versions; “So Young” was even released in the nineties as the B-side of a Dutch single.
Elsewhere, the appearance of the old in the new is easier to spot. The island-flavored “Don’t Be a Stranger” used to be called “Do You Get Enough,” and while the music is largely the same, the lyrics are far more confident this time around. It also has the only out-of-time credit on the project: Don Was is listed on bass. And “Do You Think I Really Care?” benefits tremendously from this back-to-the-future approach. It’s a strange hybrid: a country song about missing a girl in mid-seventies New York City with nice slide work by Ronnie Wood, at the time a new official member of the band. In its earlier incarnation, it was known as “I Need a Yellow Cab,” and the Stones just couldn’t get it right. Jagger has said that he had two good verses and needed five. Here, he finds the other three.
At other times, the new material isn’t quite as successful. “I Love You Too Much” verges on generic Stones, a straightforward composition that would have been at home on later albums like “Voodoo Lounge.” And there’s a fair amount of filler, mainly in the form of covers: Freddy “Boom Boom” Cannon’s “Tallahassee Lassie,” with John Fogerty on handclaps; Waylon Jennings’s “We Had It All,” with Richards on vocals; and a heartfelt if inessential version of Hank Williams’s “You Win Again.”
The refurbished songs on the deluxe set don’t imperil the status of “Some Girls,” and in some cases they elevate it slightly. Still, the extra disc raises questions about this process of re-presentation. It’s happened before in pop music, occasionally: when the Beatles assembled the “Anthology” box sets after John Lennon’s murder, the surviving members, along with George Martin, completed a pair of songs, “Free As a Bird” and “Real Love,” which were billed as the first new Beatles recordings in twenty-five years. In 1999, Prince rerecorded “1999” in what he claimed was a note-for-note recreation—a kind of sonic clone—in the hopes of creating a new master that he owned. And you could even argue that Neil Young’s obsessively pristine production of his early songs for his “Archives” project qualifies as a kind of re-recording.
But the Stones’ projects are slightly different. In returning to a body of work and preparing it for a rerelease that is in fact an initial release, they complicate the chronological location of their “art.” Bands struggle constantly with the challenge of performing earlier songs in concert. Here, the Stones must inhabit earlier versions of themselves in the studio, or, at the very least, cast the impossibility of doing so in sharp relief. Does Jagger’s aging-roué narrator in “So Young” mean something different to a seventy-year-old vocalist than it did to a vocalist in his late thirties? Does a song about the nightlife landmarks of mid-seventies New York like “Do You Think I Really Care?”—Max’s Kansas City is mentioned, as is the Factory—have a charming warmth that it could not have conveyed in 1978?
Also, “Some Girls” isn’t a case of an artist discovering juvenilia and releasing it later on, like Thomas Pynchon’s “Slow Learner.” The Rolling Stones were already a fully formed band almost two decades into their career. So what are these rereleases? The cultural equivalent of hypnotic regression? Rudimentary time machines? Perhaps they are closer cousins to projects like Francis Ford Coppola’s “Apocalypse Now Redux,” in which he cracked open his Vietnam War epic more than two decades later, restoring almost an hour of footage and radically shifting some of its major scenes. Or Aleksandr Solzhenitsyn’s “August 1914,” a 1971 novel that was significantly reworked in the mid-eighties for inclusion in his “Red Wheel” cycle.
At the very least, they’re powerful paradoxes: hundreds of bands have tried to recapture the sound of the late-seventies Rolling Stones, but in the end, only the Rolling Stones of more than thirty years later have succeeded.
Read more [www.newyorker.com]
CULTURE DESK
Notes on arts and entertainment from the staff of The New Yorker
SOME MORE GIRLS: TWELVE NEW ROLLING STONES SONGS*
Posted by Ben Greenman
Last year the Rolling Stones rereleased their landmark 1972 double album, “Exile on Main Street,” in a deluxe package stuffed full of extra material and wrapped in a thick layer of nostalgia. Now, the band is doing the same with “Some Girls,” the 1978 record which many consider their last truly great album. (Others cast their lot with “Tattoo You,” from 1981; few are willing to go any further into the eighties.) Given the number of products associated with the rerelease—a vinyl edition, a “Super Deluxe” package—you could be forgiven for dismissing the entire enterprise as a cash grab. But a closer look suggests that the album, like “Exile” before it, does something ambitious and weird.
The Stones have not only added rarities and outtakes from the period, but in some cases have updated unfinished tracks to make new songs. Mick Jagger and Keith Richards, along with the producer, Don Was, combed through boxes of old tapes, re-listening to various works-in-progress and deciding whether they might be helped along to completion. As a result, the 2011 version of “Some Girls” includes not only the original ten songs but a companion disc with twelve more songs: new to varying degrees, but all appearing for the first time in the Stones’ official canon.
“Some Girls” was recorded at a time when the Stones were fighting a war on three fronts: they were holding off the challenge of punk, making peace with the dominance of disco, and reconnecting with their country roots. It’s a fascinating, edgy hybrid of these goals, cohesive despite itself. It has “Shattered” for the punk clubs, “Miss You” for the dance floors, “Faraway Eyes” for the honky tonks, and a half-dozen other songs for the rest of us, including “Beast of Burden,” “When the Whip Comes Down,” and “Before They Make Me Run,” which Richards, in his autobiography, identifies as perhaps his most successful composition.
The new “Some Girls” reinforces the argument that the Stones, in 1978, were still a vital force in music rather than over-the-hill rockers. “No Spare Parts,” which was released as a single from the deluxe edition, has circulated widely on bootlegs for decades, and trying to guess how much of it is contemporary is part of the fun. (Is that a new Jagger verse?) The song is a snotty, surprisingly affecting bit of country-rock that serves as a near perfect example of the late-seventies Rolling Stones. Through the verses, Jagger elongates every vowel, almost comically, and the chorus has a wonderfully memorable melody. Other songs, like “Claudine” (about the actress and accused killer Claudine Longet) and “So Young” (about an underage fan) are superb moments of nasty, funny rock ‘n’ roll that would have been right at home alongside the lascivious title track “Some Girls.” They aren’t noticeably different than earlier bootleg versions; “So Young” was even released in the nineties as the B-side of a Dutch single.
Elsewhere, the appearance of the old in the new is easier to spot. The island-flavored “Don’t Be a Stranger” used to be called “Do You Get Enough,” and while the music is largely the same, the lyrics are far more confident this time around. It also has the only out-of-time credit on the project: Don Was is listed on bass. And “Do You Think I Really Care?” benefits tremendously from this back-to-the-future approach. It’s a strange hybrid: a country song about missing a girl in mid-seventies New York City with nice slide work by Ronnie Wood, at the time a new official member of the band. In its earlier incarnation, it was known as “I Need a Yellow Cab,” and the Stones just couldn’t get it right. Jagger has said that he had two good verses and needed five. Here, he finds the other three.
At other times, the new material isn’t quite as successful. “I Love You Too Much” verges on generic Stones, a straightforward composition that would have been at home on later albums like “Voodoo Lounge.” And there’s a fair amount of filler, mainly in the form of covers: Freddy “Boom Boom” Cannon’s “Tallahassee Lassie,” with John Fogerty on handclaps; Waylon Jennings’s “We Had It All,” with Richards on vocals; and a heartfelt if inessential version of Hank Williams’s “You Win Again.”
The refurbished songs on the deluxe set don’t imperil the status of “Some Girls,” and in some cases they elevate it slightly. Still, the extra disc raises questions about this process of re-presentation. It’s happened before in pop music, occasionally: when the Beatles assembled the “Anthology” box sets after John Lennon’s murder, the surviving members, along with George Martin, completed a pair of songs, “Free As a Bird” and “Real Love,” which were billed as the first new Beatles recordings in twenty-five years. In 1999, Prince rerecorded “1999” in what he claimed was a note-for-note recreation—a kind of sonic clone—in the hopes of creating a new master that he owned. And you could even argue that Neil Young’s obsessively pristine production of his early songs for his “Archives” project qualifies as a kind of re-recording.
But the Stones’ projects are slightly different. In returning to a body of work and preparing it for a rerelease that is in fact an initial release, they complicate the chronological location of their “art.” Bands struggle constantly with the challenge of performing earlier songs in concert. Here, the Stones must inhabit earlier versions of themselves in the studio, or, at the very least, cast the impossibility of doing so in sharp relief. Does Jagger’s aging-roué narrator in “So Young” mean something different to a seventy-year-old vocalist than it did to a vocalist in his late thirties? Does a song about the nightlife landmarks of mid-seventies New York like “Do You Think I Really Care?”—Max’s Kansas City is mentioned, as is the Factory—have a charming warmth that it could not have conveyed in 1978?
Also, “Some Girls” isn’t a case of an artist discovering juvenilia and releasing it later on, like Thomas Pynchon’s “Slow Learner.” The Rolling Stones were already a fully formed band almost two decades into their career. So what are these rereleases? The cultural equivalent of hypnotic regression? Rudimentary time machines? Perhaps they are closer cousins to projects like Francis Ford Coppola’s “Apocalypse Now Redux,” in which he cracked open his Vietnam War epic more than two decades later, restoring almost an hour of footage and radically shifting some of its major scenes. Or Aleksandr Solzhenitsyn’s “August 1914,” a 1971 novel that was significantly reworked in the mid-eighties for inclusion in his “Red Wheel” cycle.
At the very least, they’re powerful paradoxes: hundreds of bands have tried to recapture the sound of the late-seventies Rolling Stones, but in the end, only the Rolling Stones of more than thirty years later have succeeded.
Read more [www.newyorker.com]
Re: Some Girls Reissue press
Posted by:
treaclefingers
()
Date: November 22, 2011 23:57
Quote
StonesTodQuote
R
Them that can't, teach.
Them that can't even teach, write reviews.
what do we do if we can't even write reviews?
read reviews
Re: Some Girls Reissue press
Posted by:
71Tele
()
Date: November 23, 2011 01:43
Quote
mr_djaQuote
StonesTodQuote
R
Them that can't, teach.
Them that can't even teach, write reviews.
what do we do if we can't even write reviews?
Blog
Peace,
Mr DJA
I thought it's "them that can't do, teach. Them that can't teach, teach gym".
Re: Some Girls Reissue press
Posted by:
kowalski
()
Date: November 23, 2011 01:56
Quote
71TeleQuote
mr_djaQuote
StonesTodQuote
R
Them that can't, teach.
Them that can't even teach, write reviews.
what do we do if we can't even write reviews?
Blog
Peace,
Mr DJA
I thought it's "them that can't do, teach. Them that can't teach, teach gym".
Jack Black quote?
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 23, 2011 11:18
The Rolling Stones: Some Girls (Deluxe Edition)
By Matthew Fiander 23 November 2011
"....This new deluxe edition proves that this time period to be a wildly fruitful one for the band. The second disc includes 12 outtakes from the Some Girls sessions, and they are fully formed and mostly excellent. The rollicking piano of “Claudine”, the grimy stomp of “So Young”, the bluesy vamp of “When You’re Gone”, the smoldering guitar work of “Keep Up Blues”—each moment is as vital as the last. On top of these solid tracks, there’s absolute knock-out “No Spare Parts”, a boozy ballad that is as strong (or better) than anything on the album proper. Of these 12 tracks, none feel like snippets or cast-offs. These are complete statements and, together with the album, reveal a high-water mark in the band’s creativity they would never quite capture again. If Some Girls answered the band’s growing set of critics, and silenced the punks, it didn’t reinvent the band long term.
But that, in the end, doesn’t matter. What matters is that, with Some Girls, the Rolling Stones gave us one more classic album, and this new edition pays tribute to this burst of creativity by showing it to us all at once. Many of these extras have floated around on bootlegs for a while, but here they are presented to us remastered and in pristine form, the way they were meant to be heard. In that way, this set feels like two complete albums—Some Girls One and Some Girls Two—and the sequel nearly manages to match the original’s vital power. So whether or not it shut the punks up, this album has kept us talking for 30-plus years, and with this new edition, that conversation is bound to continue. Because there’s still plenty to talk about, to dig into, and—most importantly—to get knocked out by".
[www.popmatters.com]
By Matthew Fiander 23 November 2011
"....This new deluxe edition proves that this time period to be a wildly fruitful one for the band. The second disc includes 12 outtakes from the Some Girls sessions, and they are fully formed and mostly excellent. The rollicking piano of “Claudine”, the grimy stomp of “So Young”, the bluesy vamp of “When You’re Gone”, the smoldering guitar work of “Keep Up Blues”—each moment is as vital as the last. On top of these solid tracks, there’s absolute knock-out “No Spare Parts”, a boozy ballad that is as strong (or better) than anything on the album proper. Of these 12 tracks, none feel like snippets or cast-offs. These are complete statements and, together with the album, reveal a high-water mark in the band’s creativity they would never quite capture again. If Some Girls answered the band’s growing set of critics, and silenced the punks, it didn’t reinvent the band long term.
But that, in the end, doesn’t matter. What matters is that, with Some Girls, the Rolling Stones gave us one more classic album, and this new edition pays tribute to this burst of creativity by showing it to us all at once. Many of these extras have floated around on bootlegs for a while, but here they are presented to us remastered and in pristine form, the way they were meant to be heard. In that way, this set feels like two complete albums—Some Girls One and Some Girls Two—and the sequel nearly manages to match the original’s vital power. So whether or not it shut the punks up, this album has kept us talking for 30-plus years, and with this new edition, that conversation is bound to continue. Because there’s still plenty to talk about, to dig into, and—most importantly—to get knocked out by".
[www.popmatters.com]
Re: Some Girls Reissue press
Posted by:
noughties
()
Date: November 25, 2011 15:31
Lina Lecaro in LA wrote: ( 1st post by proudmary)
"is shameless. The best rock n' roll is."
I really detest this attitude. I remember I returned "Some Girls" in the summer of `78, just because it was so rude and mean. So far, I have no intention of buying it again.
"is shameless. The best rock n' roll is."
I really detest this attitude. I remember I returned "Some Girls" in the summer of `78, just because it was so rude and mean. So far, I have no intention of buying it again.
Re: Some Girls Reissue press
Posted by:
DandelionPowderman
()
Date: November 25, 2011 16:06
Thanks for posting the reviews!
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 25, 2011 17:06
Mick Jagger Reveals Some Girls' Hidden Gems!
25/11/2011
Some Girls was the Rolling Stones' resurrection. Goaded by punk, disco, and the threat of Keith Richards' impending incarceration (eventually deferred) they threw aside their mid-'70s lethargy and returned with a snarling, rocking fightback.
This month's MOJO magazine throws the spotlight on the Stones' rambunctious '70s, with brand new interviews with Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Ron Wood, concluding with a detailed look at Some Girls, featuring unseen shots by fashion photography legend Helmut Newton.
The latter has now been reissued with an exciting second disc of unreleased bonus tracks from contemporaneous sessions. Included is the mythical Claudine, about the French actress-singer Claudine Longet, jailed in 1977 after shooting her skier boyfriend Vladimir "Spider" Sabich to death.
In the course of interviews with MOJO's Mark Blake, Mick Jagger annoted another ten of the (in some cases, spruced-up) outtakes, exclusively for MOJO.
Tallahassie Lassie
Mick Jagger: "This is a song made famous by Freddy Cannon. The original version we did at the time of Some Girls sounds like it was recorded in a wind tunnel. It now sounds like we're coming towards the end of the tunnel. Quite funky. I left it alone. Didn't do anything new, except add some handclaps - which is very close the feel of the original."
Keep Up Blues
MJ: "This contains a very humorous lyric all about keeping up with the times. It's an amusing one. No angst involved."
When You're Gone
MJ: "A good blues song. It's also amusing. But slightly more angst-ridden."
No Spare Parts
MJ: "It's a country tune. The idea for the song began at the Some Girls sessions, but I finished the idea and turned it into a complete piece. It's all about driving from San Antonio to Los Angeles to meet a woman, which I did once, so it's based on my own experience. Was it worth the trip? Well, it's lovely drive, dear, you shouldn't miss it."
Do You Think I Really Care
MJ: "I'd describe it as country-rockish. A sort of Dead Flowers, Let It Bleed thing, but set in New York, like so much of Some Girls."
We Had It All
MJ: "Keith sings this one. It's an old-time country song written by Donnie Fritts and Troy Seals. I know this because I was mixing it and I said to Don Was, "Did Keith write this song?" I didn't know 'cos I'm not on it. Don said, "No, it's an old cover tune." Waylon Jennings did a version, which is where I think Keith got it from."
So Young
MJ: "A heavy blues, about meeting a very young girl and then getting wet feet. There's a line in it that says, "I took her to Barney's to buy her boots."
Don't Be A Stranger
MJ: "This has a Latin tinge. Originally, there was no melody or lyrics. So it had to be built up from scratch. At first, I was like, 'I can't do anything with this,' but then you chip away at it and something comes."
You Win Again
MJ: "It's the Stones doing the old Hank Williams song. My goal is always to keep the spirit of the thing. I imagine everything was recorded last week and I just had to come in and finish them - a line here or a line there."
I Love You Too Much
MJ: "This is an old rocker - it's very Rolling Stones. I left the vocal but I changed a couple of lines 'cos I got bored with the repetition in the lyrics. You'd never know which lines they were, though. Keith added a few bits here and there."
Interview by: Mark Blake
[www.mojo4music.com]
Edited 1 time(s). Last edit at 2011-11-25 17:17 by proudmary.
25/11/2011
Some Girls was the Rolling Stones' resurrection. Goaded by punk, disco, and the threat of Keith Richards' impending incarceration (eventually deferred) they threw aside their mid-'70s lethargy and returned with a snarling, rocking fightback.
This month's MOJO magazine throws the spotlight on the Stones' rambunctious '70s, with brand new interviews with Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Ron Wood, concluding with a detailed look at Some Girls, featuring unseen shots by fashion photography legend Helmut Newton.
The latter has now been reissued with an exciting second disc of unreleased bonus tracks from contemporaneous sessions. Included is the mythical Claudine, about the French actress-singer Claudine Longet, jailed in 1977 after shooting her skier boyfriend Vladimir "Spider" Sabich to death.
In the course of interviews with MOJO's Mark Blake, Mick Jagger annoted another ten of the (in some cases, spruced-up) outtakes, exclusively for MOJO.
Tallahassie Lassie
Mick Jagger: "This is a song made famous by Freddy Cannon. The original version we did at the time of Some Girls sounds like it was recorded in a wind tunnel. It now sounds like we're coming towards the end of the tunnel. Quite funky. I left it alone. Didn't do anything new, except add some handclaps - which is very close the feel of the original."
Keep Up Blues
MJ: "This contains a very humorous lyric all about keeping up with the times. It's an amusing one. No angst involved."
When You're Gone
MJ: "A good blues song. It's also amusing. But slightly more angst-ridden."
No Spare Parts
MJ: "It's a country tune. The idea for the song began at the Some Girls sessions, but I finished the idea and turned it into a complete piece. It's all about driving from San Antonio to Los Angeles to meet a woman, which I did once, so it's based on my own experience. Was it worth the trip? Well, it's lovely drive, dear, you shouldn't miss it."
Do You Think I Really Care
MJ: "I'd describe it as country-rockish. A sort of Dead Flowers, Let It Bleed thing, but set in New York, like so much of Some Girls."
We Had It All
MJ: "Keith sings this one. It's an old-time country song written by Donnie Fritts and Troy Seals. I know this because I was mixing it and I said to Don Was, "Did Keith write this song?" I didn't know 'cos I'm not on it. Don said, "No, it's an old cover tune." Waylon Jennings did a version, which is where I think Keith got it from."
So Young
MJ: "A heavy blues, about meeting a very young girl and then getting wet feet. There's a line in it that says, "I took her to Barney's to buy her boots."
Don't Be A Stranger
MJ: "This has a Latin tinge. Originally, there was no melody or lyrics. So it had to be built up from scratch. At first, I was like, 'I can't do anything with this,' but then you chip away at it and something comes."
You Win Again
MJ: "It's the Stones doing the old Hank Williams song. My goal is always to keep the spirit of the thing. I imagine everything was recorded last week and I just had to come in and finish them - a line here or a line there."
I Love You Too Much
MJ: "This is an old rocker - it's very Rolling Stones. I left the vocal but I changed a couple of lines 'cos I got bored with the repetition in the lyrics. You'd never know which lines they were, though. Keith added a few bits here and there."
Interview by: Mark Blake
[www.mojo4music.com]
Edited 1 time(s). Last edit at 2011-11-25 17:17 by proudmary.
Re: Some Girls Reissue press
Posted by:
pinksuit
()
Date: November 26, 2011 00:03
Hi there,
I am new to this board (although I am following since 2002) and will introduce myself properly later on.
Regarding the reviews of Some Girls reissue reviews my favorite is one of an old punk and I most liked the part where he is hiding it under his bed hen his buddies arrived. It was the first album I bought on the day of its release (being 16) and I remember all the discussions with my (punk) buddies. They never got the humor on far away eyes but liked the energy on Respectable, Lies or Shattered.
Have a look here: [iturnedoutapunk.com]
BTW Great Board and even there are a lot of moaners here, it is great to have a community who appreciate what our heroes have contributed to our lives
Being established in 1962
I am new to this board (although I am following since 2002) and will introduce myself properly later on.
Regarding the reviews of Some Girls reissue reviews my favorite is one of an old punk and I most liked the part where he is hiding it under his bed hen his buddies arrived. It was the first album I bought on the day of its release (being 16) and I remember all the discussions with my (punk) buddies. They never got the humor on far away eyes but liked the energy on Respectable, Lies or Shattered.
Have a look here: [iturnedoutapunk.com]
BTW Great Board and even there are a lot of moaners here, it is great to have a community who appreciate what our heroes have contributed to our lives
Being established in 1962
Re: Some Girls Reissue press
Posted by:
StonesTod
()
Date: November 26, 2011 00:45
i don't get all the moaner bashing.
Re: Some Girls Reissue press
Posted by:
71Tele
()
Date: November 26, 2011 01:45
Quote
kowalskiQuote
71TeleQuote
mr_djaQuote
StonesTodQuote
R
Them that can't, teach.
Them that can't even teach, write reviews.
what do we do if we can't even write reviews?
Blog
Peace,
Mr DJA
I thought it's "them that can't do, teach. Them that can't teach, teach gym".
Jack Black quote?
Woody Allen.
Re: Some Girls Reissue press
Posted by:
71Tele
()
Date: November 26, 2011 01:46
Quote
noughties
Lina Lecaro in LA wrote: ( 1st post by proudmary)
"is shameless. The best rock n' roll is."
I really detest this attitude. I remember I returned "Some Girls" in the summer of `78, just because it was so rude and mean. So far, I have no intention of buying it again.
You did know this was a Rolling Stones board, right?
Re: Some Girls Reissue press
Posted by:
treaclefingers
()
Date: November 26, 2011 08:25
Quote
proudmary
Tallahassie Lassie
Mick Jagger: "This is a song made famous by Freddy Cannon. The original version we did at the time of Some Girls sounds like it was recorded in a wind tunnel. It now sounds like we're coming towards the end of the tunnel. Quite funky. I left it alone. Didn't do anything new, except add some handclaps - which is very close the feel of the original."
I was quite sure those were '78 Mick handclaps...there he goes again screwing with a perfectly good song, by adding in his 68 year old man claps.
...will never learn.
Re: Some Girls Reissue press
Posted by:
Rockman
()
Date: November 26, 2011 08:32
.....yeah but he's got the same clap he had back in '78 ... play with that one
ROCKMAN
ROCKMAN
Re: Some Girls Reissue press
Posted by:
treaclefingers
()
Date: November 26, 2011 08:52
Had a good time reading through this...thanks PM!
Re: Some Girls Reissue press
Posted by:
proudmary
()
Date: November 26, 2011 14:43
Mick and Keith, 50 years on
ELIZABETH RENZETTI
London— From Saturday's Globe and Mail
Published Saturday, Nov. 26, 2011
Mick Jagger is checking Wikipedia. Now there’s a sentence I never thought I’d write. Mick and I are chatting on the phone – as one does – from opposite sides of London, while the night draws in. In other words, it’s 4 p.m.
He’s in his pad and I’m in mine, though I imagine his view is somewhat more salubrious. He’s probably not staring across the way at a naked neighbour of indeterminate sex washing compulsively for 45 minutes – he probably got enough of that in Swinging Chelsea circa 1965.
[www.theglobeandmail.com]
ELIZABETH RENZETTI
London— From Saturday's Globe and Mail
Published Saturday, Nov. 26, 2011
Mick Jagger is checking Wikipedia. Now there’s a sentence I never thought I’d write. Mick and I are chatting on the phone – as one does – from opposite sides of London, while the night draws in. In other words, it’s 4 p.m.
He’s in his pad and I’m in mine, though I imagine his view is somewhat more salubrious. He’s probably not staring across the way at a naked neighbour of indeterminate sex washing compulsively for 45 minutes – he probably got enough of that in Swinging Chelsea circa 1965.
[www.theglobeandmail.com]
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