It's worth noting how much more integrated MT is into the band and overall groove than back on the PPV ... much more relaxed
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QuoteWindyHorses Does Keith always stay in the back with Charlie and Darryl? I remember him being a lot more up in front. Are those days gone? I mean, I want to see him and it looks a lot of the time like he's buried back there. Actually he was more mobile than I expected - did the ramp a couple of times - and got up front for JJF, MR at some points and others. He was much more fluid and anim
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Live - this was absolutely smokin! Great vid as well. Seems that Keith is gaining strength and energy as the shows go on. He's absolutely feral on JJF!
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QuoteCaptainchaos been said already but i goota add my two penneths worth - Midnight Rambler, THIS is how a live R&R band should sound - not played to click, no samples, raw, edgy, dynamic,exciting, big pair of hairy balls slapped in your face, a few scuffs that are quickly repaired, great playing, great great vibe I was there last night - and I was totally with you until the 'big hairy bal
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Crowd on their feet - everyone, dancing from start to finish
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Here at the grand - chilling today - hanging at the hotel - first time here - it's massive
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The key diff with BS versus jjf, gs, and to some degree the other warhorses is that this is the sound of the band standing in the same room playing at the same time -shit hot from the road. Most of the others were layered together piece by piece in the studio.
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Love a couple of their more recent tunes: All Light Up and Walking Through My Dreams, both adventuresome neo-psych feeling. Sort of remind me of We Love You era Stones.
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Very well-done film - the only public figure portrayed in the film is Leon Panetta, played by James Gandolfini - with the full glasses and comb-over - nailed the look - serious part but I thought it was hilarious. James sounding pretty much like Tony Soprano and it worked ...
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Was at the KC show in 72 - as my buddy put it - 'you could feel the wind coming off their amps' - no shit - loud but good. There was a point in Gimme Shelter after the lead that the guitars both hit the rhythm hard and the intensity was beyond belief. The difference back then was that they really blew thru the songs for maximum impact - 72 was Keith's top moment as a rhythm player - no 'weavi
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Quotestones69 The September 1966 issue no. 105 with Batman on the cover had an inside front cover black and white actual photograph of the Stones at a press conference with a Mad inserted word bubble that had Mick saying something like "Actually I consider us more than just a bunch of pretty faces". I have the magazine but am unable to scan. Great - this back cover photo and caption
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I was at the Memphis 7/4/75 show - killer show - but hotter'n hell. J Geils did a smokin set - special guest Furry Lewis came out for a couple of acoustic numbers. Snuck a fifth of Jack in tied to my ankle under the super-wide flared jeans we wore back in the day. Sat in a circle on the field with a couple we didn't know, and the girl took her shirt off, much to our excitement - we tried to t
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Pretty things - just check Rosilyn
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Love these guys - funny that they never have had any resurgence of popularity or recognition past the late 60's - (versus the Dead for instance). Interesting that Volunteers came out around the time LIB came out - two epic records, both with Nicky playing all over them.
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My read is that this is primarily Keith's - written for Marlon as he left to tour - I know MJ claimed this for Marianne - but based on Stan Booth's recounting, it was Keith who brought this into the session, and finished it right in the studio.
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ClearChannel? Umm, that would be the mafia
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No question that the boot is the much better performance - maybe some difference in sound - but it's the performance that is the difference. The boot is the Stones' finest hour in terms of live performance captured on tape - IMO
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I remember a Howard Stern session with ST where Stern spent 10 min trying to get Tyler to dis the Stones and instead of giving in and goofing on them, Steve just remained silent and said 'Dude, the respect for these guys is just too great'- he just didn't play along with HS.
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Quoteflilflam I think it is terrible. That era, with the ridiculous garb and attempts to copy the sounds of the Beatles' Sergeant Pepper, is the lost era of the Stones, as far as I am concerned. I can only snicker when I force myself to listen to it. I counted 3 chords in the entire song. Oh well, to each his own. Seriously, Dude, if having more than three chords in a song is important to yo
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QuoteHis Majesty El Mocambo, Some Girls, Emotional Rescue suck guitar tone wise. I feel like I need to report this post to security - sucks???? Round and Round on Macombo is one of the most sublime rock rhythm sounds ever - if you don't dig that, what brings you to this thread?? Don't go nuts - just think this gets to the essence of KR
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Very hard to beat David Grissom - he's been on many tracks - all of which have the right off-hand vibe listen to Joe Ely's Lord Of The Highway - that band was a Texas Stones - killer rhythm/lead riffing throughout -
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The first three albums are nearly non-stop fun - not a one-single band by any means. They did put out a promo double album of out-takes way back that I hope makes the cut. Very under-rated band ...
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OK - looked at the whole thread - nothing touches this as a total Stones track - guitars, bass drums vox -
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Also have and like this - gives new reading to many favorites - coming down again is one good one on here
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Quotewith sssoul Quotemarcovandereijk I would give a part of my body if it was possible to travel through time and actually be there in 1968 when the song was played on the radio for the very first time. I am quite sure it must have been a moment of glorious joy, to those who followed the band in the 60s, to be confronted with all these guitars, fighting for attention. it was ... ohhh my
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Quotehowled Personally, I can't hear any JJF high part similarities myself. Good vid - but check the studio - noodling at the very end ...
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Use the normal music theory advice as only a reference point (1,4,5, m2,m6) - rules don't apply - try totally different chords to see where they lead the melody (major 2, major 3, others that may be jarring at first) God advice earlier to follow the melody before worrying about overall structure
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Ok - my assessment is that exile marked the moment when m&k last worked as a team in writing and developing the songs (as a rule). On ghs, Mick started collaborating with Billy and mt rather than Keith (e.g. Winter, 100 years ago, hide your love, others). That is the most telling difference between these albums and the glory days. There are still interesting songs - but a departure from the q
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Regarding the high parts - some forensic analysis from the boys in the CSI lab downtown: flash forward to Ron wood's first 'solo' album 'I've got my own album to do' - on that, listen to 'Crotch Music' - at the outro of that, there is a stretch that has the exact same high noodling that occurs in the outro of jjf. Note the kr is central on that track. Listen to that - then tell me, is it not k
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whoa - love these guys - of all the essential 60s bands - they have never had an after-life - don't know why. Favs: 1) Baxters - just the most 'out-there arrangements with stuff happening all over the songs - but underneath there were real songs - all unconventional arrangements 2) Volunteers - fantastic start to finish - Eskimo Blue Day - totally psychedelic - and pre-saged environmental terr
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